HISPANO-MORESQUE 
POTTERY 


IN  THE  COLLECTION  OF 

THE  HISPANIC  SOCIETY  OF  AMERICA 


BY 

EDWIN  ATLEE  BARBER,  PH.D. 

Director  of  the  Pennsylvania  Museum  and  School  of  Industrial  Art 
Philadelphia,  Pa. 


THE   HISPANIC   SOCIETY   OF  AMERICA 
156th  STREET,  WEST  OF  BROADWAY 
NEW  YORK,  1915 


FRANKLIN  INSTITUTE  LIBRARY 

PHILADELPHIA,  PA. 

Class  .<2..^..<S..-...<a  Bookj£^L2  Accession  ^.7.3.  QS' 
Given  by 


PUBLICATIONS  OF 
THE  HISPANIC  SOCIETY  OF  AMERICA 
No.  94 


Digitized  by  the  Internet  Archive 
in  2015 


https://archive.org/details/hispanomoresquepOOhisp_0 


HlSPANO-MoRESQUE   LlJSTERED  DlSH 

With  Arms  of  Despuig 
Valencia 
Early  Fifteenth  Century 

(See  No.  3,  page  45) 


HISPANO-MORESQUE 
POTTERY 


IN   THE  COLLECTION  OF 

THE  HISPANIC   SOCIETY  OF  AMERICA 

BY 

EDWIN  ATLEE  BARBER,  PH.D. 

Director  of  the  Pennsylvania  Museum  and  School  of  Industrial  Art 
Philadelphia,  Pa. 


THE    HISPANIC    SOCIETY    OF  AMERICA 
156th  STREET,  WEST  OF  BROADWAY 
NEW  YORK,  1915 


Copyright,  1915,  by 
The  Hispanic  Society  of  America 


HISPANO -MORESQUE  POTTERY 


773  o  & 


HISPANO-MORESQUE  POTTERY 


INTRODUCTORY  NOTES 

METALLIC   LUSTERS  AND  STANNIFEROUS 
ENAMEL 

THE  origin  of  metallic  luster,  as  applied  to  the 
surface  of  tin-enameled  earthenware,  is  a  prob- 
lem which  has  occupied  the  attention  of  ceramic  stu- 
dents for  many  years.  Various  theories  as  to  the  source 
of  this  art  have  been  advanced  by  different  writers, 
some  of  which  have  proved  fallacious,  while  others 
have  failed  to  be  convincing.  Examples  of  native  pot- 
tery with  stanniferous  enamel,  from  Egypt,  Babylonia 
or  Assyria,  are  unknown,  notwithstanding  the  fact 
that  the  early  writers  attributed  to  those  countries  the 
first  use  of  tin  as  a  glaze  for  bricks  and  vases.  What 
was  for  a  long  time  believed  to  be  tin  enamel  has 
proved  to  be  a  silicious  glaze,  tinted  and  made  opaque 
by  the  introduction  of  metallic  oxides.  A  careful 
examination  of  early  pieces  has  failed  to  bring  to 
light  a  single  example  showing  tin  in  the  glaze. 

[5] 


Pottery  and  tiles,  of  an  entirely  different  char- 
acter from  the  usual  varieties  of  Persian  wares  with 
which  we  are  familiar,  have  been  found  in  the  north- 
western part  of  Persia,  in  the  ruins  of  some  of  the 
older  towns.  We  refer  to  the  stellate  and  cruciform 
tiles  and  more  or  less  complete  pieces  of  pottery,  with 
luster  ornamentation,  which  reveal  to  a  marked  ex- 
tent extraneous  influences.  The  principal  character- 
istic which  is  noticeable  is  that  they  are  coated  with 
a  stanniferous  enamel  instead  of  being  glazed  with  a 
silico-alkaline  or  glass  glaze,  in  the  Persian  and 
Egyptian  manner. 

The  star-shaped  tiles  with  lustered  designs  have, 
so  far  as  we  know,  been  found  in  Persia  only  in  the 
northwest  part,  by  some  attributed  to  Rhages,  by 
others  to  Sultanabad,  a  short  distance  to  the  west- 
ward, and  by  still  others  to  Veramin,  some  twenty 
miles  distant,  which  latter  town  was  built  after 
Rhages  was  destroyed  in  the  thirteenth  century. 
Various  dates  have  been  mentioned  for  the  destruc- 
tion of  Rhages  and  Sultanabad,  ranging  from  1221 
to  1259.  Bagdad,  the  Saracenic  capital,  fell  under 
Hulagu  Khan  in  1258.  Just  what  connection  this 
event  had  with  the  manufacture  of  the  lustered  tiles 
which  we  find  in  Persia  has  not  yet  been  determined. 
Bagdad  was  only  some  four  hundred  miles  from 

[6] 


Rhages,  and  potters,  at  the  sacking  of  the  former 
city,  could  readily  have  escaped  to  northwestern 
Persia  and  established  their  art  for  a  time  there. 

While  it  is  undoubtedly  true  that  the  lustered 
pottery  and  tiles  which  we  are  considering  have  been 
found  in  abundance  in  Persia,  all  evidences  point  to 
the  fact  that  they  are  not  of  Persian  conception.  Our 
belief  that  tin  was  not  employed  as  a  glaze  by  the 
native  Persian  potters  until  introduced  by  foreign 
craftsmen  is  rather  strengthened  than  weakened  by 
the  presence  of  stanniferous  wares  which  reveal  in 
so  unmistakable  a  manner  outside  influences,  along 
with  the  glass-glazed  products  of  very  decided  Per- 
sian character.  Among  the  eight-pointed  star-shaped 
examples  we  find  paintings  of  antelopes,  horses,  pan- 
thers, hares  and  other  animals,  also  plant  forms  and 
arabesque  traceries,  all  showing  a  strong  Saracenic 
influence.  The  technique  of  some  of  these  lustered 
designs  bears  a  striking  resemblance  to  that  of  the 
lustered  pottery  found  in  the  rubbish  mounds  of 
Fostat,  near  Old  Cairo,  Egypt. 

In  the  South  Kensington  Museum  may  be  seen 
a  collection  of  fragments  of  bowls  and  tiles  from 
ancient  ruins  in  Persia.  Those  with  metallic  lusters 
are  attributed  to  Rhages,  and  belong  to  an  early 
period,  probably  the  thirteenth  and  fourteenth  cen- 

[7] 


turies  of  our  era.  Many  of  them  show  Mongolian 
influence  in  the  figures  and  costumes,  while  others 
are  purely  Saracenic  in  spirit  and  treatment.  One 
of  them  is  a  star-shaped  tile  with  Saracenic  style  of 
ornament  and  mock  Arabic  inscription  in  golden 
luster  on  a  blue  border.  The  glaze  of  all  of  these 
fragments  contains  more  or  less  tin. 

Similar  lustered  tiles  are  to  be  seen  in  public 
museums  in  this  country.  The  white  stanniferous 
enamel  is  thick  and  heavy.  The  superimposed  luster 
is  identical  with  that  which  is  found  on  Hispano- 
Moresco  plaques.  It  is  of  brownish-yellow  tone,  but 
when  viewed  at  an  angle  it  changes  to  a  bluish-violet, 
of  the  same  quality  as  that  of  the  lusters  of  Valencia. 
We  are  therefore  forced  to  the  conclusion  that  these 
star-shaped  tiles  found  in  Persia  were  made  under 
Saracenic  influence,  modified  to  some  extent  by  the 
introduction  of  Mongolian  technique,  as  exhibited  in 
the  paintings  of  human  figures.  The  glaze  and  luster 
were  purely  Saracenic,  since  neither  tin  enamel  nor 
luster  produced  from  silver  and  copper  was  used  in 
China.  Moreover,  we  do  not  find  in  the  potteries  of 
Rakka  (Syria),  Rhodes,  Anatolia,  Damascus  or  Tur- 
key, all  of  which  reveal  a  strong  Persian  character, 
any  indications  of  the  use  of  tin  glaze  or  metallic 
lusters.    This  negative  evidence  goes  far  to  prove 

[8] 


that  stanniferous  enamel  and  iridescent  decorations 
did  not  originate  with  the  Persian  potters.  Had  they 
been  employed  generally  in  Persia,  they  would  un- 
doubtedly have  reappeared  in  the  imitative  pottery 
of  these  more  recent  centres. 

A  noble  example  of  tin-enameled  faience  from 
Persia  is  the  Mihrab  from  the  Seljoucid  temple  at 
Veramin,  which  was  brought  to  this  country  by  Mr. 
H.  Kevorkian  and  exhibited  in  New  York  in  the 
spring  of  1914.  This  remarkable  specimen  measures 
twelve  feet  nine  inches  in  height  by  seven  feet  six 
inches  in  width  and  is  composed  of  sixty-five  tile 
panels  and  plaques  of  varying  form,  covered  with  a 
white  stanniferous  enamel,  with  Cufic  and  Neski  in- 
scriptions, arabesques  and  interlaced  designs  in  relief, 
colored  in  various  shades  of  blue,  turquoise,  purple, 
brown,  and  green,  and  heightened  with  golden,  ruby, 
and  purple  lusters.  Supporting  some  of  the  panels 
are  semi-cylindrical  columns  surmounted  by  Saracenic 
capitals.  On  the  lower  tablet  is  this  inscription : 
"Executed  by  Ali,  son  of  Muhammed,  son  of  Ab-i- 
Tahir,  and  completed  in  the  month  of  Shaaban  in  the 
year  663  A.  H."  (corresponding  to  1264  A.  D.). 

At  a  later  period  the  Persian  potters,  reverting 
to  their  original  methods,  glazed  their  pottery  with 

[9] 


glass,  but  continued  to  some  extent  to  use  lusters  in 
the  decorations. 

Dr.  A.  J.  Butler,  in  a  recent  article,*  writes  as 
follows : 

"I  venture  to  think  that  the  clue  to  much  that  is 
called  Persian  and  Syrian  and  Moorish  is  to  be  found 
ultimately  in  Egypt  —  that,  in  fact,  Egypt  was  the 
centre  from  which  there  spread  over  the  Nearer  East 
the  art  of  decorating  faience,  first  with  beautiful  col- 
oured glazes  and  enamels,  and  then  with  brilliant 
changing  lustre,  and  the  art  of  decorating  wall  sur- 
faces with  glazed  and  painted  tiles.    .    .  . 

"There  was,  then,  a  continuous  historic  evolution 
of  art  in  Egypt  from  Pharaonic  times  to  the  middle 
ages.  It  is  true  that  for  some  few  centuries  after 
the  conquest  no  Arab  records  were  written,  or  none 
have  been  preserved,  which  can  be  quoted  in  direct 
reference  to  ceramic  art;  but  the  works  of  Walid,  of 
Mansur,  the  founder  of  Baghdad,  of  Harun  al  Rashid, 
Mamun,  Tulun,  and  Khamarawiyah,  contain  a  suffi- 
cient history  of  artistic  progress  in  the  eighth  and 
ninth  centuries  —  a  witness  carried  on  by  the  mosques 
of  Al  Azhar  and  Hakim  in  Cairo  into  the  tenth  cen- 
tury.   In  the  eleventh  century  we  have  the  strongest 

*The  Burlington  Magazine,  July,  1907,  p.  221. 

[10] 


documentary  evidence  that  the  arts  —  in  particular 
textiles  and  ceramics  —  had  attained  a  splendour  in 
Egypt  unrivalled  elsewhere.  It  is  therefore  certain 
that  there  was  no  gap  or  break  in  the  artistic  history 
of  Egypt :  that  from  Pharaonic  art  to  Ptolemaic, 
from  Ptolemaic  to  Roman,  and  from  Roman  to 
Mohammedan,  the  chain  is  complete. 

"This  brings  us,  then,  to  the  well-known  diary 
of  the  Persian  traveller  Nasir-i-Khusrau,  who  visited 
Old  Cairo  or  Fustat  in  1047  A.  D.  .  .  .  Nasir- 
i-Khusrau  was  a  most  cultivated  person,  as  his  diary 
shows  —  he  even  took  a  part  of  his  library  with  him 
to  Cairo  —  and  in  particular  he  had  a  keen  eye  to 
artistic  beauty  or  rarity.  More  than  this,  he  had  at 
least  a  fair  knowledge  of  Oriental  faience  —  i.  e., 
knew  not  only  the  ware  of  Persia  and  Syria,  but  also 
that  of  China.  The  proof  is  that,  speaking  of  a  very 
beautiful  marble  vase  which  he  saw  at  Csesarea,  he 
likens  it  to  'Chinese  porcelain.'  Now,  in  all  his  travels 
he  had  seen  nothing  like  this  lustre  decoration.  To 
describe  it,  indeed,  he  has  recourse  to  a  comparison 
with  a  unique  Egyptian  textile  called  bukalimun,  or 
'chameleon  fabric/  as  one  might  say.  Of  this  fabric 
he  himself  writes :  'At  Tinnis  and  nowhere  else  in 
the  world  they  make  the  stuff  called  bukalimun, 

[11] 


the  colour  of  which  changes  every  hour  of  the  day; 
it  is  exported  to  countries  of  the  east  and  of  the 
west/ 

"Here,  then,  is  the  clearest  admission  by  a  Per- 
sian eye-witness  not  merely  of  the  supremacy  of  the 
textile  and  ceramic  arts  in  Egypt  in  the  eleventh  cen- 
tury, but  of  the  manufacture  of  most  beautiful 
products  by  processes  elsewhere  unknown.  If  such 
testimony  can  be  rejected,  no  evidence  is  of  any  value; 
if  it  is  not  rejected,  then  it  follows  that  the  art  of 
painting  in  lustre  had  its  origin  in  Egypt,  and  not  in 
Persia,  and  that,  at  whatever  period  it  began,  it  had 
reached  to  great  perfection  before  the  middle  of  the 
eleventh  century,  but  had  not  then  spread  northward 
to  Syria  or  westward  to  Kairuan,  to  which  Nasir-i- 
Khusrau's  travels  extended.  It  is,  however,  highly 
probable  that  the  art  was  introduced  into  Persia  in 
the  late  eleventh  or  early  twelfth  century  —  possibly 
workers  were  sent  from  Old  Cairo  even  before  the 
great  fire  which  caused  its  first  destruction.  And  it 
is  curious  to  note  that  the  animal  painting  and  figure 
painting  which  often  differentiates  Persian  from 
Egyptian  design  in  pottery  was  certainly  found  in 
Cairene  art  at  the  time  of  Nasir-i-Khusrau's  visit; 
for,  speaking  of  the  golden  throne  of  the  Sultan,  he 

[12] 


says  that  it  was  adorned  'with  hunting  scenes,  men, 
galloping  horses,  and  finely  written  inscriptions' — 
just,  in  fact,  in  what  would  now  be  called  the  Persian 
manner.  The  truth  is  that  up  to  the  eleventh  century 
the  Muslims  of  Egypt  had  not  that  dislike  of  por- 
traying human  and  animal  figures  which  they  after- 
wards displayed.  But,  granted  that  painting  in  lustre 
spread  from  Cairo  to  Persia,  it  is  equally  certain  that 
it  spread  westward  to  Spain.  In  both  countries  it 
produced  results  of  very  varied  beauty.  .  .  .  There 
is  a  predominate  type  of  lustre,  not  unlike  the  Per- 
sian, in  the  well-known  Hispano-Moresque  ware,  and 
this  type  has  a  somewhat  monotonous  sameness,  yet 
there  is  also  a  less  known  type  of  lustre  with  the  most 
beautiful  bronze-green,  ruby,  purple  and  gold  hues  — 
again  recalling  bukalimun.  I  do  not  know  of  any 
Spanish  vases  or  vessels  lustred  with  this  varied  bril- 
liance ;  but  such  colours  may  be  seen  in  all  their  rich- 
ness on  the  walls  of  the  Casa  de  Pilatos  at  Seville  —  a 
Moorish  building  dated  about  1600  A.  D.  —  and  a 
few  similar  tiles  are  in  the  Second  Mihrab  of  the 
mosque  of  Cordova  dated  to  the  thirteenth  century. 
Thus  the  art  which  flourished  in  Egypt  in  the  eleventh 
century  was  well  established  both  in  Spain  and  in 
Persia  by  the  thirteenth." 

[13] 


In  attributing  to  the  Egyptians  the  first  use  of 
luster  in  the  decoration  of  pottery,  Dr.  Butler  does 
not  appear  to  have  sufficiently  considered  the  connec- 
tion which  existed  between  luster  and  stanniferous 
enamel.  The  earliest  examples  of  lustered  wares 
with  which  we  are  acquainted,  were  applied  over  a 
tin  glaze,  probably  for  the  reason  that  the  pure  white 
tint  and  opacity  of  the  tin  brought  out  more  perfectly 
the  colors  and  prismatic  effects  of  the  lusters.  It  is 
therefore  reasonable  to  assume  that  both  glaze  and 
luster  possessed  a  common  origin.  The  early  wares 
of  the  Egyptians  were  glazed  with  glass  and  appar- 
ently never  with  tin. 

Mr.  Dikran  Khan  Kelekian,  who  has  possessed 
unexcelled  opportunities  for  studying  the  potteries  of 
the  Nearer  East,  in  his  monograph  on  "The  Potteries 
of  Persia,"  states  that,  "As  far  as  we  have  any  rec- 
ords, the  Fostat  potteries  antedate  the  Persian.  They 
were  made  for  the  most  part,  it  appears,  by  Arabian 
and  Syrian  workers,  who  had  either  emigrated  there 
or  been  taken  prisoners  and  kept  because  of  their 
skill  to  assist  the  native  artists." 

In  the  absence  of  any  convincing  proof  that 
stanniferous  faience  was  ever  produced  by  the  native 
Egyptian  or  Persian  potters,  and  in  considering  the 
fact  that  both  tin-enameled  and  lustered  pottery  of  a 

[14] 


similar  character  has  been  found  in  Egypt,  Persia, 
Syria,  Northern  Africa  and  Spain,  or  in  those  coun- 
tries which  were  invaded  by  the  Saracens,  the  infer- 
ence is  unavoidable  that  these  people,  if  not  the  in- 
ventors of  these  arts,  were  at  least  their  disseminators 
throughout  the  Nearer  East  and  the  Mediterranean 
area.  We  must,  therefore,  abandon  the  theory  that 
metallic  lusters  and  tin  enamels,  as  applied  to  pottery, 
originated  either  with  the  Persians  or  the  Egyptians. 
As  has  been  remarked  by  Stanley  Lane-Poole :  "The 
arts  were  in  Egypt  long  before  the  Tartars  became 
her  rulers,  but  they  stirred  them  into  new  life,  and 
made  the  Saracenic  work  of  Egypt  the  centre  and 
head-piece  of  Mohammedan  art."* 

The  reflet  metallique  and  stanniferous  enamel 
appear  to  have  reached  Europe  from  the  East  through 
the  Saracens,  who  spread  westward  along  the  north- 
ern coast  of  Africa  into  Morocco.  The  star-shaped 
and  cruciform  tiles  which  we  find  in  Persia  were  used 
in  Spain  and  continued  to  be  made  there  until  recent 
years.  These  forms  are  of  Saracenic  origin,  and  are 
found  engraved  in  the  ornamentation  of  the  hilt  and 
scabbard  of  the  fifteenth-century  sword  owned  by 
Boabdil,  the  last  of  the  Moorish  kings  of  Granada, 
preserved  in  the  Villaseca  collection  in  Madrid.  The 
*The  Art  of  the  Saracens  in  Egypt. 

[15] 


Moslem  eight-pointed  star,  with  arabesques  carved  in 
relief,  is  found  on  the  sides  of  the  wooden  pulpit 
erected  in  the  year  1296,  during  the  restoration  of 
the  mosque  of  Ibn-Tulun,  at  Cairo,  for  the  Mameluke 
Sultan  Lagin.  Some  of  these  carved  panels  are  pre- 
served in  the  South  Kensington  Museum.  They  are 
good  examples  of  Saracenic  art  of  the  thirteenth  cen- 
tury in  Egypt.  Lustered  tiles  of  the  same  form,  from 
Valencia,  showing  Arab  influence,  were  used  in  the 
cupola  of  the  Convent  of  the  Conception,  at  Toledo, 
Spain,  which  was  built  in  the  early  part  of  the  fif- 
teenth century.  Some  of  these  bear  the  letters  I  H  S 
in  luster,  while  others  are  decorated  with  Moorish 
ornaments.  One  of  the  former  is  figured  and  described 
by  a  recent  writer,  Serior  Joseph  Font  y  Guma,*  who 
also  informs  us  that  tiles  of  this  form  with  Moresque 
designs  have  been  found  in  abundance  in  Andalusia. 
They  are  distinctly  Saracenic  in  treatment  and  are  of 
the  fifteenth  century. 

Lusters  were  obtained  by  applying  to  the  enamel 
a  thin  wTash  prepared  from  the  oxides  of  silver  and 
copper  and  subjecting  them  to  heat  in  the  reducing 
furnace.  When  silver  was  used  alone,  the  paler  yel- 
low or  golden  and  silvery  effects  were  obtained,  and 
these  occur  on  the  earlier  and  finer  wares.  Copper 

*Rajolas  Valencianas  y  Catalanas,  1905,  p.  42. 

[16] 


produced  the  darker  and  redder  tones,  while  a  com- 
bination of  both,  in  varying  proportions,  resulted  in 
the  intermediate  shades.  After  the  sixteenth  century 
the  lustering  of  the  Hispano-Moresque  wares  became 
more  coppery  and  less  iridescent,  and  with  the  deca- 
dence of  the  art  in  the  eighteenth,  the  decorations 
became  ruder  and  the  luster  took  on  a  harsh,  tinselly 
appearance.  This  deterioration  in  the  quality  of  the 
ware  was  occasioned  by  the  gradual  introduction  of 
cheaper  materials  and  methods. 

"One  of  the  earliest  and  most  interesting  notices 
relating  to  the  preparation  of  this  lustred  ware," 
writes  Leonard  Williams, *  "is  contained  in  a  descrip- 
tion by  one  of  the  royal  archers,  named  Henry  Cock, 
of  the  progress,  performed  in  1585,  of  Philip  the 
Second  from  the  court  of  Spain  to  Zaragoza.  Cock 
wrote  of  Muel,  in  Aragon :  'Almost  all  the  inhabitants 
of  this  village  are  potters,  and  all  the  earthenware 
sold  at  Zaragoza  is  made  in  the  following  manner. 
The  vessels  are  first  fashioned  to  the  required  shape 
from  a  certain  substance  extracted  from  the  earth  of 
this  locality.  They  are  next  baked  in  a  specially  con- 
structed oven,  and  when  removed  from  this  are  var- 
nished with  white  varnish  and  polished,  after  which 
they  are  washed  with  a  mixture  of  twenty-five  pounds 
*The  Arts  and  Crafts  of  Older  Spain,  Vol.  II.,  p.  175;  1908. 

[17] 


of  lead,  three  or  four  pounds  of  tin,  and  as  many 
pounds  of  a  certain  sand  which  is  found  there.  All 
these  ingredients  are  mixed  into  a  paste  resembling 
ice,  which  is  broken  small,  pounded  like  flour,  and 
kept  in  powder.  This  powder  is  mixed  with  water, 
the  dishes  are  passed  through  it,  and  after  being  re- 
baked  they  keep  their  lustre.  Next,  in  order  to  gild 
the  pottery,  they  take  the  strongest  vinegar  mixed 
with  about  two  reales  of  powdered  silver,  vermilion, 
and  red  ochre,  and  a  little  wire.  When  all  is  thor- 
oughly mixed  they  paint  the  patterns  on  the  dishes 
with  a  feather,  bake  them  again,  and  their  gold  color 
is  now  quite  permanent.  I  was  told  all  this  by  the 
potters  themselves.'  " 

The  following  account,  quoted  by  Riano*  from  a 
manuscript  report  in  the  British  Museum,  prepared 
for  Count  Florida  Blanca,  who,  in  1785,  desired  to 
establish  a  manufactory  of  lustered  ware  at  Madrid, 
will  convey  a  very  clear  idea  of  the  processes  of  glaz- 
ing and  lustering  used  at  Manises  at  the  end  of  the 
eighteenth  century : 

"After  the  pottery  is  baked,  it  is  varnished  with 
white  and  blue,  the  only  colors  used  besides  the  gold 
lustre;   the  vessels  are  again  baked;   if  the  objects 

*Juan  F.  Riano :  The  Industrial  Arts  in  Spain. 

[18] 


are  to  be  painted  with  gold  color,  this  can  only  be 
put  on  the  white  varnish,  after  they  have  gone  twice 
through  the  oven.  The  vessels  are  then  painted  with 
the  said  gold  color  and  are  baked  a  third  time,  with 
only  dry  rosemary  for  fuel. 

"The  white  varnish  used  is  composed  of  lead  and 
tin,  which  are  melted  together  in  an  oven  made  on 
purpose ;  after  these  materials  are  sufficiently  melted, 
they  become  like  earth,  and  when  in  this  state  the 
mixture  is  removed  and  mixed  with  an  equal  quantity 
in  weight  of  sand :  fine  salt  is  added  to  it,  it  is  boiled 
again,  and  when  cold,  pounded  into  powder.  The 
only  sand  which  can  be  used  is  from  a  cave  at  Benal- 
guacil,  three  leagues  from  Manises.  In  order  that  the 
varnish  should  be  fine,  for  every  arroba,  25  pounds 
of  lead,  6  to  12  ounces  of  tin  must  be  added,  and 
half  a  bushel  of  fine-powdered  salt:  if  a  coarse  kind 
is  required,  it  is  sufficient  to  add  a  very  small  quantity 
of  tin,  and  three  or  four  cuartos  worth  of  salt,  which 
in  this  case  must  be  added  when  the  ingredient  is 
ready  for  varnishing  the  vessel. 

"Five  ingredients  enter  into  the  composition  of 
the  gold  color :  copper,  which  is  better  the  older  it 
is;  silver,  as  old  as  possible;  sulphur;  red  ochre, 
and  strong  vinegar,  which  are  mixed  in  the  follow- 
ing proportions :  of  copper  three  ounces,  of  red  ochre 

[19] 


twelve  ounces,  of  silver  one  peseta  (about  a  shilling), 
sulphur  three  ounces,  vinegar  a  quart;  three  pounds 
(of  twelve  ounces)  of  the  earth  or  scoriae,  which  is 
left  after  this  pottery  is  painted  with  the  gold  color, 
is  added  to  the  other  ingredients. 

"They  are  mixed  in  the  following  manner :  a 
small  portion  of  sulphur  in  powder  is  put  into  a  cas- 
serole with  two  small  bits  of  copper,  between  them 
a  coin  of  one  silver  peseta;  the  rest  of  the  sulphur 
and  copper  is  then  added  to  it.  When  this  casserole 
is  ready,  it  is  placed  on  the  fire,  and  is  made  to  boil 
until  the  sulphur  is  consumed,  which  is  evident  when 
no  flame  issues  from  it.  The  preparation  is  then 
taken  from  the  fire,  and  when  cold  is  pounded  very 
fine ;  the  red  ochre  and  scoriae  are  then  added  to  it ; 
it  is  mixed  up  by  hand  and  again  pounded  into  powder. 
The  preparation  is  placed  in  a  basin  and  mixed  with 
enough  water  to  make  a  sufficient  paste  to  stick  on 
the  sides  of  the  basin;  the  mixture  is  then  rubbed 
on  the  vessel  with  a  stick;  it  is  therefore  indispen- 
sable that  the  water  should  be  added  very  gradually 
until  the  mixture  is  in  the  proper  state. 

"The  basin  ready  prepared  must  be  placed  in  an 
oven  for  six  hours.  At  Manises  it  is  customary  to 
do  so  when  the  vessels  of  common  pottery  are  baked ; 
after  this  the  mixture  is  scratched  off  the  sides  of  the 

[20] 


basin  with  some  iron  instrument;  it  is  then  removed 
from  there  and  broken  up  into  small  pieces,  which 
are  pounded  fine  in  a  hand-mortar  with  the  quantity 
of  vinegar  already  mentioned,  and  after  having  been 
well  ground  and  pounded  together  for  two  hours  the 
mixture  is  ready  for  decorating.  It  is  well  to  observe 
that  the  quantity  of  varnish  and  gold-colored  mixture 
which  is  required  for  every  object  can  only  be  ascer- 
tained by  practice." 

The  Hispano-Moresque  lustered  wares  of  the 
fourteenth  century,  when  the  Arabic  processes  were 
in  use,  were  covered  with  a  glaze  in  which  tin  formed 
an  important  component.  This  enamel  was  exceed- 
ingly hard,  entirely  opaque  and  of  a  white  or  creamy 
tint.  The  thickness  and  density  of  the  enamel  per- 
ceptibly increased  the  weight  of  those  pieces  to  which 
it  was  applied.  Of  this  character  is  the  neck  of  the 
large  vase  in  the  Museum  collection  (No.  i). 

After  the  expulsion  of  the  Moors,  the  Spanish 
potters,  gradually  abandoning  the  processes  of  their 
Moorish  teachers,  began  to  apply  to  the  surface  of 
their  pottery  a  thin  wash  of  white  pipe  clay,  or  slip, 
which  they  covered  with  a  modified  glaze,  in  which 
lead  formed  the  principal  ingredient.  By  this  cheaper 
treatment  the  appearance  of  whiteness  and  opacity,  so 

[21] 


characteristic  of  tin  enamel,  was  still  preserved,  but 
the  porous  slip,  or  engobe,  with  its  film  of  lead  and 
tin,  being  of  much  less  specific  gravity  than  tin  enamel, 
added  but  little  to  the  weight  of  the  ware,  so  that  it 
was  perceptibly  lighter  than  similar  tin-enameled  ex- 
amples. The  difference,  by  comparison  of  pieces 
treated  by  the  two  processes,  is  so  marked  that  an 
expert  can  distinguish  between  them  without  resorting 
to  the  test  of  hardness. 

That  such  had  largely  become  the  practice  in 
certain  parts  of  Spain  in  the  latter  part  of  the  six- 
teenth century  appears  to  be  proved  by  the  description 
given  by  Henry  Cock  of  the  method  of  glazing  em- 
ployed by  the  potters  of  Mitel,  in  Aragon,  in  1585, 
to  which  reference  has  already  been  made.  His  state- 
ment that  "The  vessels  ....  are  baked  in  a 
specially  constructed  oven  and  when  removed  from 
this  are  varnished  with  white  varnish  and  polished, 
after  which  they  are  washed  with  a  mixture  of  twenty- 
five  pounds  of  lead,  three  or  four  pounds  of  tin  and 
as  many  pounds  of  a  certain  sand  which  is  found 
there/'  evidently  applies  to  the  white  slip  with  its 
plumbeous  and  stanniferous  covering. 

A  critical  examination  of  Hispano-Moresque 
wares  produced  after  1500  will  reveal  the  fact  that 
they  do  not  possess  the  hardness  of  surface  of  the 

[22] 


Saracenic  pottery  of  Persia  or  the  Moorish  ware  of 
Spain  of  an  earlier  date.  Pieces  belonging  to  the 
beginning  of  the  sixteenth  century,  while  they  reveal 
the  presence  of  more  or  less  tin  in  the  glaze,  also 
show  traces  of  the  white  slip  and  can  be  scratched 
with  a  steel  point.  In  the  following  century  the  slip 
coating  became  more  perceptible  and  the  glaze  con- 
siderably softer,  and  by  the  beginning  of  the  seven- 
teenth century  tin  had  become  practically  eliminated. 
The  wares  of  this  period  were  of  the  character  of 
mezza-maiolica. 

While  some  of  the  lustered  tiles  of  the  sixteenth 
century,  however,  notably  those  produced  at  Seville, 
were  also  coated  with  slip  and  glazed  with  lead,  the 
practice,  as  applied  to  tiles,  did  not  become  general, 
and  stanniferous  enamel,  often  combined  with  glass 
glazes,  also  continued  to  be  used  on  tiles  until  recent 
times. 

In  departing  from  the  Moorish  method  of  glaz- 
ing, the  Spanish  potters  appear  to  have  adopted  a 
more  purely  Spanish  style  of  treatment,  and  instead 
of  continuing  the  simulation  of  Arabic  lettering  and 
ornament,  they  began  to  introduce  Christian  quota- 
tions and  symbolism  in  the  decorations.  A  favorite 
inscription  consisted  of  the  often  repeated  words 
"Domine  Surge,"  which  on  some  of  the  slip-coated 

[23] 


and  lead-glazed  plaques  is  entirely  distinct  and  legible. 
Other  favorite  decorative  motives  were  derived  from 
the  Latin  "Urbi  et  Orbi  '  and  the  opening  words  of 
the  Gospel  of  St.  John :  "In  principio  erat  verbum 
et  verbum  erat  apud  Deum."  By  frequent  copying 
some  of  the  Roman  letters  were  gradually  changed  or 
modified  in  form,  and  in  time  the  entire  inscription 
became  a  mere  meaningless  decorative  embellishment. 

As  will  be  seen  by  the  statement  of  Henry  Cock, 
the  enamel  used  on  the  Hispano-Moresque  ware  in 
1 585  contained  three  or  four  pounds  of  tin  to  every 
twenty-five  pounds  of  lead,  a  proportion  of  twelve  or 
sixteen  per  cent.,  while  exactly  two  centuries  later  the 
amount  of  tin  employed,  as  we  are  informed  by  Riano, 
had  decreased  to  one-half  pound  or  one  pound  to 
every  twenty-five  pounds  of  lead,  equivalent  to  only 
two  or  four  per  cent,  for  the  fine  enamel,  while  for 
the  coarser  wares  a  "very  small  quantity  of  tin"  was 
considered  sufficient.  Since  the  quality  of  the  enamel 
was  dependent  upon  the  amount  of  tin  used  in  the 
composition,  the  extent  of  the  decadence  of  the  art 
in  recent  times  will  be  understood. 

After  the  introduction  of  the  art  of  lustering 
into  Spain  in  the  fourteenth  century  it  was  carried 
into  Italy,  where  it  was  developed  to  an  even  greater 
degree   of  perfection   and   used   effectively  on  the 

[24] 


maiolica  of  the  fifteenth  and  later  centuries,  in  con- 
junction with  the  polychrome  paintings  which  were 
executed  by  ceramic  artists.  While  the  process  of 
producing  the  prismatic  lusters  was  the  same,  as  prac- 
tised by  the  Saracens  in  Egypt  and  Persia,  later  by 
the  Moors  in  Spain,  and  at  a  still  more  recent  date 
by  the  Italian  potters,  the  latter  succeeded  in  devel- 
oping several  varieties  which  had  not  been  used 
before,  in  a  separate  form,  to  cover  considerable  sur- 
faces, notably  a  greenish  yellow,  a  strawberry  pink, 
and  a  brilliant  ruby  red,  known  as  Gubbio  luster, 
after  the  name  of  the  place  where  it  originated.  At 
two  other  centres  in  Italy  lustering  was  practised  — 
namely,  Diruta  and  Pesaro  —  where  a  pearly  luster 
of  great  brilliancy  and  high  prismatic  quality  was 
developed. 

It  has  been  claimed  by  some  writers  that  Moorish 
potters  went  to  Sicily  in  the  fourteenth  century  and 
established  potteries  there.  Earthenware  supposed  to 
have  been  made  in  that  island  by  Moorish  workmen 
is  sometimes  termed  Siculo-Arab  ware.  Mr.  C. 
Drury  E.  Fortnum,  in  his  work  on  "Maiolica,"  refers 
to  this  fabric  in  the  following  words : 

"Specimens  of  a  lustred  ware  have  been  brought 
from  Sicily,  differing  materially  from  that  of  Spain, 

[25] 


and  perhaps  forming  a  connecting  link  between  that 
and  the  earlier  Persian  pottery.  They  are  formed  of 
an  ordinary  clay  covered  with  an  earthy  or  stannifer- 
ous (?)  wash,  which  is  again  coated  with  a  rich  trans- 
lucent blue  glaze  on  which  a  diapering  of  vermicular 
ornament  in  coppery  lustre  covers  the  whole  piece, 
except  that  the  edges  and  handles  are  also  painted  in 
lustre.  This  ware  is  by  no  means  common ;  it  occurs 
in  the  form  of  plates,  covered  bowls,  and  'albarelli': 
and  is  supposed  to  be  the  workmanship  of  Moorish 
potters  in  Calata-Girone." 

It  will  be  observed  that  the  above  writer  is  some- 
what uncertain  (the  query  mark  being  his)  whether 
the  ware  he  describes  is  coated  with  a  stanniferous  or 
an  earthy  wash.  Examples  of  this  character  which 
we  have  examined  show  no  traces  of  tin  enamel. 
The  lead  glaze  has  either  been  applied  directly  over 
the  blue-colored  body  or  on  a  thin  shell  of  slip. 
Such  pieces,  however,  are  of  a  late  period,  probably 
not  earlier  than  the  seventeenth  century,  as  the  com- 
bination of  white  slip,  lead  glaze  and  coppery  luster 
would  indicate. 

The  superficial  film  which  is  seen  on  Hispano- 
Moresque  pottery,  called  reflet  metallique  by  the 
French,  is  of  four  distinct  varieties : 

[26] 


1.  Golden,  pale  or  deep. 

2.  Cangeante  (changing,  when  viewed  from 

different  angles,  from  brownish  golden 
to  violet,  green,  blue,  and  rose). 

3.  Madreperla,  or  mother-of-pearl,  which  also 

varies  from  silver  to  blue,  lilac,  and  a 
purplish  ruby. 

4.  Coppery,  of  various  degrees  of  reddish  tone. 


MOORISH  LUSTERED  POTTERY 

OF 

THE  FOURTEENTH  CENTURY 

The  Moors  founded  the  kingdom  of  Granada  in 
1235,  and  the  city  of  that  name  became  the  seat  of 
the  Moorish  government  in  Spain.  The  Alhambra 
was  erected  about  1273.  One  of  the  earliest  refer- 
ences to  lustered  pottery  with  which  we  are  acquainted 
is  that  of  the  Arabic  geographer,  Edrisi,  who  about 
1 1 54  wrote  of  Calatayud,  in  Spain:  "Here  the  gold- 
colored  pottery  is  made  which  is  exported  to  all  coun- 
tries." Malaga  also  is  believed  to  have  been  one  of 
the  early  centres  of  lustered  pottery,  since  the  trav- 

[27] 


eler  Ibn-Batutah,  writing  about  1350,  tells  us  that 
"At  Malaga  the  fine  golden  pottery  is  made  which 
is  exported  to  the  furthermost  countries."1  It  was 
there  that  the  great  vases,  which  were  later  discov- 
ered in  the  Alhambra,  were  made. 

"Eximenus,  in  his  'Regiment  de  la  Cosa  Publica,' 
Valencia,  1499,  in  speaking  of  the  excellent  things 
made  in  the  kingdom  of  Valencia,  says:  'The  twenty- 
seventh  excellent  thing  is  that  some  artificial  objects 
are  made  there  which  bring  great  renown  to  the  coun- 
try, for  they  are  excellent  and  beautiful,  and  are  now 
to  be  found  in  other  localities  ....  but  above 
all  is  the  beauty  of  the  gold  pottery  so  splendidly 
painted  at  Manises,  which  enamours  everyone  so  much, 
that  the  Pope,  and  the  Cardinals,  and  the  princes  of 
the  world  obtain  it  by  special  favor,  and  are  aston- 
ished that  such  excellent  and  noble  works  can  be  made 
of  earth.'  "2 

Referring  to  this  statement,  Mr.  Albert  Van  de 
Put,  in  the  recent  edition  of  his  "Hispano-Moresque 
Ware  of  the  XV.  Century,"  has  this  to  say: 

"The  passage  in  which  Francisco  Eximenes  or 
Jimenez  records  the  beauty  of  the  golden  ware  pro- 

^iano.    The  Industrial  Arts  in  Spain. 
2Ibid. 

[28] 


duced  at  Manises,  near  Valencia,  and  the  favour  it 
found  in  the  eyes  of  the  Pope,  Cardinals  and  princes, 
dates  from  1383,  when  it  was  penned,  not  from  1499, 
the  year  when  it  was  first  printed.  This  serious  chron- 
ological misattribution  is  to  be  attributed  to  the  well 
nigh  unique  rarity  of  the  Valencian  incunabulum,  the 
'Regiment  de  la  Cosa  Publica'  by  Eximenes,  in  which 
that  rather  obscure  writer's  testimony  relating  to 
Manises  is  printed." 

The  great  vase  of  the  Alhambra  was  discovered 
in  the  sixteenth  century  in  a  subterranean  vault  be- 
neath the  palace.  It  is  attributed  to  the  first  half 
of  the  fourteenth  century,  and  measures  four  feet  six 
inches  in  height.  The  decorations,  in  blue,  brown,  and 
faint  madreperla  luster  on  a  delicate  yellow  ground, 
consist  of  archaic  animals  (antelopes),  arabesques 
and  Arabic  inscriptions.  It  is  of  amphora  form  with 
tapering  base,  surmounted  by  a  funnel-shaped  neck 
and  expanding  mouth.  From  the  shoulders  were 
originally  two  flat  wing-shaped  handles  whose  upper 
ends  joined  the  neck  near  the  top. 

The  illustration  of  the  Alhambra  vase  with  which 
we  are  familiar,  as  used  by  Riano*  and  copied  by  later 
writers  on  ceramic  art,  having  been  engraved  on  wood 

*The  Industrial  Arts  in  Spain. 

[29] 


before  the  more  exact  art  of  half-tone  engraving  came 
into  use,  is  not  accurate  in  detail  and  therefore  some- 
what misleading.  Leonard  Williams*  furnishes  an 
exact  reproduction  of  a  photograph  taken  from  the 
vase  itself.  In  this  representation  the  shape  of  the 
vase  is  seen  to  be  broader  at  the  base  and  less  slender, 
and  the  inscribed  band  which  encircles  the  body  be- 
neath the  two  antelopes  is  wider  than  the  earlier  illus- 
trations indicate.  This  writer  states  that  the  vase 
had  been  broken  apart  about  the  middle,  and  his  illus- 
tration reveals  the  fact  that  the  upper  half  of  one 
of  the  handles  is  gone. 

In  1764  this  vase,  with  a  larger  one  of  the  same 
character  and  a  portion  of  a  third  stood  in  the  garden 
of  the  governor's  palace,  where  they  were  exposed  to 
the  injurious  effects  of  the  elements  and  the  vandalism 
of  relic  hunters.  Through  mutilation  and  defacement 
only  small  portions  of  them  remained,  when  they  mys- 
teriously disappeared,  about  the  beginning  of  the  nine- 
teenth century.  Fortunately,  drawings  of  the  larger 
vase  have  been  preserved,  but  the  decorations,  while 
similar  in  style,  vary  somewhat  from  the  one  at 
Granada,  as  the  arms  of  the  Moorish  kings  of  Gran- 
ada are  introduced  and  birds  are  included  in  the  orna- 
mentation of  the  handles. 

*The  Arts  and  Crafts  and  Older  Spain. 

[30] 


The  upper  part  of  a  large  vase  in  the  Museum 
of  the  Hispanic  Society,  which  was  purchased  in  Paris 
a  few  years  ago  (No.  i  of  the  Catalogue),  presents 
many  similarities  in  style  to  that  of  the  vase  at  the 
Alhambra.  Assuming  that  the  same  relative  propor- 
tions prevailed  in  the  vase,  of  which  the  fragment  is 
a  part,  the  entire  height  would  be  about  four  feet 
ten  and  a  half  inches.  It  resembles  in  some  respects 
the  missing  companion  to  the  Alhambra  vase,  as  fig- 
ured by  Murphy,*  such  as  the  overhanging  top,  but 
it  also  shows  some  marked  differences.  In  the  Mur- 
phy lithograph  the  vertical  panels  of  the  neck  are  not 
interrupted  and  are  arranged  in  more  uniform  widths, 
and  the  decoration  is  more  regular  and  carefully 
drawn.  The  fragment  in  the  Museum  has  blue  dec- 
orations on  a  yellowish  ground,  the  dark,  brownish 
luster  being  low  in  tone,  as  is  the  case  with  other 
known  examples  of  Arab  maiolica  of  the  fourteenth 
century. 


*James  Cavanah  Murphy:  The  Arabian  Antiquities  of  Spain. 
London,  1813. 


[31] 


HISPANO-MORESQUE  LUSTERED  POTTERY 

OF 

THE  FIFTEENTH  AND  LATER  CENTURIES 

In  the  middle  of  the  fifteenth  century,  Manises 
was  the  centre  of  the  manufacture  of  lustered  pottery 
in  Valencia,  and  much  of  the  finest  ware  was  pro- 
duced there.  On  account  of  the  difficulty,  not  to  say 
impossibility  of  differentiating  the  wares  produced  in 
Valencia  itself  from  those  of  the  neighboring  towns 
of  Manises,  Paterna,  Gesarte  and  Mislata,  we  shall, 
in  this  list,  make  use  of  the  term  Valencian  in  its 
broader  application  to  the  province  instead  of  to  the 
city  of  that  name,  in  the  attribution  of  pieces  to  this 
centre. 


ORNAMENTAL  PATTERNS 

Following  the  classification  of  ornamental  de- 
signs adopted  by  Mr.  A.  Van  de  Put  in  his  "His- 
pano-Moresque  Ware  of  the  XV.  Century/'  after 
eliminating  some  of  the  less  distinctive  variations 
and  adding  some  of  a  later  period,  we  may  divide 
the  ware  into  eleven  styles,  according  to  the  motives 
employed,  as  follows: 

[32] 


1.  Mock-Arabic  Inscription. 

Bands,  or  backgrounds,  of  regularly  repeated 
devices,  simulating,  in  a  conventional  man- 
ner, Arabic  characters,  either  small  or  large 
or  both  combined,  which  are  unreadable  and 
of  no  special  significance.  This  ornament 
was  one  of  the  earliest,  dating  back  to  the 
first  quarter  of  the  fifteenth  century. 

2.  Spur  Bands  alternating  with  Bands  of 

fine  cross-hatching. 

The  spur  pattern  is  composed  of  three- 
pronged,  spur-shaped  motives  resembling 
tuning  forks,  placed  one  above  the  other  in 
rows.  Employed  in  the  first  half  of  the 
fifteenth  century. 

3.  Bands  of  Marguerites. 

Large  daisy-like  blossoms  arranged  in  bands 
or  wreaths,  which  encircle  the  edges  or  sides 
of  dishes.    Late  fifteenth  century. 

4.  Flower  and  Leaf  on  Dotted  Ground. 

A  diaper  of  dots  in  which  appear  four-  or 
five-petaled  flowers  and  groups  of  berries, 
usually  three,  each  ornament  being  sur- 
rounded by  a  tendril  bearing  a  three-parted 
leaf.  Covering  the  same  period  as  the  pre- 
ceding. 

[331 


5.  Vine  Leaf. 

A  diaper  of  vine  leaves,  either  large  or  small, 
terminating  in  smaller  leaves,  flowers  or  ber- 
ries. Second  and  third  quarters  of  fifteenth 
century.  The  individual  motives  vary  some- 
what in  size  and  form  in  different  pieces. 

6.  Bryony  Leaf  and  Flower. 

A  foliage  pattern  composed  of  three-parted 
leaves  and  tendrils  from  which  spring  small 
flowers  with  petals  of  varying  number.  This 
pattern  occurs  in  great  variety  of  arrange- 
ment with  motives  variously  modified.  Sec- 
ond and  third  quarters  of  fifteenth  century. 

7.  Dot  and  Stalk. 

A  ground  pattern  frequently  used  on  ribbed 
plaques  and  other  pieces.  It  consists  of  a 
fine  network  of  loops  and  dots.  Also  called 
Notes  of  Music.  This  pattern  is  a  modifica- 
tion of  the  small  vine-leaf  diaper.  Third 
quarter  of  fifteenth  century. 

8.  Long  Pointed  Leaves. 

Wreaths  or  diapers  with  fern-like  foliage 
between.    End  of  fifteenth  century. 

9.  Wheel. 

Bands  or  panels  of  six-spoked  wheel-shaped 
ornaments  arranged  in  a  row,  often  com- 

[34] 


bined  with  other  bands  or  panels  of  thistle- 
like flowers,  tree-like  ornaments,  dotted,  or 
net,  diapering,  or  dot  and  stalk  pattern.  Six- 
teenth and  seventeenth  centuries. 

10.  Fleur-de-Lis. 

Curled  leaves,  disposed  sometimes  in  the 
form  of  fleur-de-lis,  in  pairs,  curling  inward 
with  an  upright  point  between.  This  diaper 
is  usually  large  and  bold,  and  occurs  on 
pieces  of  the  late  fifteenth  and  early  six- 
teenth centuries. 

11.  GODROON. 

Large  scale-shaped,  or  oval,  figures  painted 
around  the  edges  or  centres  of  bowls  or 
plaques.  Sixteenth  century.  In  that  and  the 
following  century  the  ware  was  godrooned  in 
relief.  To  the  same  category  belong  those 
pieces  which  have  relief  ornaments  of  other 
patterns  —  rosettes,  leaves,  etc.  —  usually  on 
the  marly,  but  occasionally  on  the  central 
bosses. 


[35] 


DECORATIVE  PATTERNS  ON  BACKS 
OF  PLAQUES 


Hispano-Moresque  lustered  plaques  and  dishes 
are  almost  invariably  decorated  on  the  under  sides, 
or  backs.  These  ornamental  designs,  while  they  are 
usually  in  luster,  are  few  in  number  and  quite  char- 
acteristic.   They  may  be  described  as  follows : 

1.  A  large  spiral,  or  concentric  rings,  composed 
of  fine  lines,  or  bands  and  lines  combined, 
covering  the  entire  back.  This  style  of  treat- 
ment is  the  most  common. 

2.  Spirals,  or  rings,  with  a  marginal  band  con- 
taining a  running  border  design. 

3.  A  diaper  of  large  ovals  formed  of  tendrils, 
each  enclosing  a  plume-like  ornament.  This 
design  is  frequently  used. 

4.  A  central  ornament  of  rosette  form,  occupy- 
ing the  depression  of  the  boss,  surrounded 
by  concentric  circles,  with  curl  ornaments  on 
the  outside. 

5.  Concentric  circles  enclosing  an  Arabic  or 
Christian  character,  or  simulated  device  (see 
No.  60  of  Catalogue). 

6.  Leaf-shaped  or  shuttle-shaped  ornaments 
scattered  over  the  surface. 

[36] 


7  8 
Decorative  Patterns  on  Backs  of  Plaques 


7-  A  diaper  composed  of  circles  formed  of  ten- 
drils, each  enclosing  a  cluster  of  three  or  four 
dots,  or  berries.  The  margin  is  frequently 
decorated  with  a  running  border  design. 

8.  A  bryony  leaf  pattern  in  blue  and  luster, 
occasionally  used  on  the  finer  pieces. 

9.  A  large  eagle,  dragon,  bird,  heraldic  lion  or 
grotesque  animal  in  luster,  covering  the  en- 
tire surface.  Used  on  the  best  pieces  (see 
No.  23  of  Catalogue). 


HERALDIC  DESIGNS 

On  account  of  the  difficulty  of  indicating  heraldic 
tinctures  through  the  media  of  blue  enamel  and  metal- 
lic luster,  in  conjunction  with  the  creamy  ground  color 
of  the  ware,  to  which  the  Hispano-Moresco  potters 
were  limited,  it  is  frequently  difficult,  if  not  impos- 
sible, to  identify  the  coats  of  arms  which  appear  upon 
pieces  of  the  fifteenth  and  sixteenth  centuries.  No 
serious  attempt  to  determine  the  significance  of  these 
armorial  devices  appears  to  have  been  made  until  Mr. 
A.  Van  de  Put  set  himself  to  the  task,  the  results  of 

[37] 


his  researches  being  presented  in  his  "Hispano- 
Moresque  Ware  of  the  XV.  Century,"  to  which  we 
are  indebted  for  the  recognition  of  certain  of  the 
heraldic  bearings  which  are  found  on  examples  of 
the  ware  in  this  Museum. 

The  chronological  attributions  used  in  the  fol- 
lowing catalogue  have  been  based  on  the  conclusions 
reached  by  the  foremost  authorities  on  the  subject, 
which  have  been  generally  accepted ;  but  these  approx- 
imate dates  are  subject  to  future  revision,  in  the  event 
of  the  discovery  of  new  facts  bearing  upon  the  history 
of  the  art. 

Edwin  AtLee  Barber 


[381 


CATALOGUE  OF 
HISPANO-MORESQUE  WARE 


i.  FRAGMENT  OF  LARGE  VASE. 

Diameter  of  top,  i/\l/2  inches. 
Diameter  of  base,  g%.  inches. 
Height,  i854  inches. 

Thickness  of  rim  at  top,  iy2  inches,  average. 

The  neck  consists  of  two  divisions,  the  upper 
one  being  somewhat  longer  and  having  eleven 
elongated  panels,  varying  in  width,  separated  by 
nine  vertical  grooves  enclosed  by  projecting 
ridges,  or  ribs. 

Upper  rim  projecting  about  an  inch  from 
the  sides,  and  composed  of  eleven  flat  rectangu- 
lar sections,  each  with  an  arc  of  a  circle  cut  in 
the  lower  side,  capping  the  vertical  sections  of 
the  neck  beneath,  and  separated  by  semi-cylindri- 
cal depressions,  which  overlap  the  nine  vertical 
cannellations. 

The  lower  portion  contains  eleven  shorter 
sections,  between  which  are  single  ridges,  each  a 
continuation  of  the  ribbed  groove  above.  At  each 
side,  in  the  broadest  panels,  near  the  top,  is  a 
scar,  showing  where  the  upper  tip  of  the  wing- 
shaped  handle  was  broken  away. 

[39] 


Some  of  the  elongated  panels  and  grooves 
are  decorated  with  scrolled  and  arabesque  de- 
signs, while  others  are  filled  with  a  triple  spur 
motive.  These  are  all  painted  in  a  dull,  coppery 
luster  on  a  rather  weak  mottled  blue  ground.  At 
the  lower  edge  of  the  neck  are  fifteen  circular 
medallions  in  the  same  luster,  each  containing  an 
Arabic  (simulated)  inscription.  Separating  the 
two  sections  is  a  horizontal  band  of  blue  enclosed 
between  bands  of  luster  and  similarly  decorated. 

The  projecting  cornice  and  the  raised  ribs 
are  covered  with  a  somewhat  paler  and  yellower 
luster,  of  low  tone. 

Moorish.    Probably  Malaga,  about  the  middle  of 
the  fourteenth  century. 

Made  of  a  coarse,  light  red  clay,  fired  rather 
hard.    Tin  enameled.  Plate  I 

2.  TILE 

Height  and  width,  7*4  inches. 

Form  . — Octagonal. 

Design. — Bold  strap-work,  intersecting  at 
right  angles  and  enclosing  conventional  plant 
forms  in  white,  reserved  in  a  blue  ground. 
Small  eight-pointed  tile  designs  in  the  four  cor- 
ners in  blue.  A  central  shield  bears  the  Arabic 
inscription,  in  luster,  "And  no  one  is  supreme 
except  Allah." 

Luster. — Golden  and  iridescent. 
Moorish.    Probably  Malaga,  fifteenth  century. 

Plate  II 

[40] 


Neck  of  Large  Vase 
Moorish  (Malaga) 
Fourteenth  Century 


Plate  II 


2.  LUSTERED  TlLE 

Hispano-Moresque 
Fifteenth  Century 


3.  DISH 

Diameter,  igJ/g  inches. 

Depth,  inches. 

Width  of  brim,  or  marly,  2  inches. 

Form. — Flat  base  and  nearly  vertical  sides, 
which  rise  to  a  horizontal  or  slightly  sloping 
brim. 

Design. — Around  centre  a  broad,  circular 
band  of  mock-Arabic  inscription,  broken  into 
four  equal  segments  by  four  pointed  ovals,  all 
in  blue.  On  brim  boldly  painted  arabesques 
resembling  a  simulated  inscription  of  a  cursive 
type,  also  in  blue.  Around  the  rise  a  serrated 
border  pattern.  The  arms  of  Despuig,  or  Puig, 
in  luster  on  a  creamy  white  field.  Reverse. — 
An  eagle,  in  golden  luster,  covering  the  entire 
back. 

Luster. — Golden,  which  changes  to  violet 
and  green  when  viewed  from  different  angles. 
The  effect  is  a  brilliant  violet  and  rose  reflet. 
Valencia  (Manises),  second  quarter  of  fifteenth 

century.    See  Frontispiece. 

In  Valencia  St.  John  was  particularly  ven- 
erated, and  the  emblematic  eagle  is  often  found 
on  pieces  made  there. 

This  dish  is  figured  by  Van  de  Put  in  the 
191 1  edition  of  his  work  on  Hispano-Moresque 
ware.    He  describes  the  arms  as  "A  mount  of 

[45] 


one  coupeau  surmounted  by  a  demy  fleur-de-lys, 
in  gold  upon  the  cream  ground  colour." 

A  similar  dish  (with  different  arms)  is  in 
the  British  Museum. 

4.  BOWL 

Diameter,  18  inches. 
Height,  5y2  inches. 

Form. — Sweeping  curved  interior,  without 
marly,  and  standing  on  a  small  foot,  five  inches 
in  diameter.  Four  loops,  at  equi-distant  points, 
rise  from  the  under  side  and  curl  over  the  rim. 

Design. — Four  kite-shaped  ovals,  in  two  pat- 
terns —  basket  design  and  tree-shaped  ornament, 
with  simulated  Arabic  characters.  Alternating 
with  these  are  four  other  ovals,  of  similar  form, 
each  containing  an  agraffe-shaped  ornament  in 
blue  and  luster.  Between  the  tops  of  the  ovals, 
around  the  margin,  are  arabesques  simulating 
Arabic  writing,  boldly  painted  in  blue.  In  the 
centre  two  squares  arranged  in  the  form  of  a 
Mohammedan  eight-pointed  star,  enclosing  an 
eight-lobed  rosette  in  blue,  enclosing  a  smaller 
star  in  creamy  white. 

Luster. — Dark  golden,  changing  to  rose  and 
violet. 

Valencia,  first  half  of  the  fifteenth  century. 

Plate  III 

A  dish  with  similar  agraffe-shaped  orna- 
ments is  in  the  Sevres  Museum. 

[46] 


4.  Bowl,  or  Plaque 
Valencia 
Early  Fifteenth  Century 


5.  ALBARELLO,  OR  DRUG  JAR 

Height,  ii^s  inches. 

Design. — A  band  of  mock-Arabic  inscrip- 
tion around  centre  and  another  on  collar  in  blue 
on  creamy  ground.  A  band  at  top  composed  of 
heavy  vertical  lines,  alternately  blue  and  luster. 
Band  of  shield-shaped  ornaments  at  base,  in 
luster,  heavily  outlined  in  blue.  Narrower  bands 
of  creamy  white  with  luster  ornaments,  separat- 
ing the  broader  bands. 

Luster. — Brownish  golden,  changing  to 
violet. 

Valencia,  first  half  of  fifteenth  century. 

Plate  IV 

From  the  collection  of  the  late  M.  Boy 
(No.  51). 

6.  ALBARELLO. 

Height,  nyi  inches. 
A  companion  to  the  preceding,  but  varying 
slightly  in  minor  details. 
Valencia,  first  half  of  fifteenth  century. 

Plate  IV 

From  the  collection  of  the  late  M.  Boy 
(No.  51). 

7.  ALBARELLO. 

Height,  12^4  irxhes. 
Design. — A  broad  central  band  of  large 
vine  leaf  diaper  in  blue  and  luster  on  creamy 

[49] 


ground.  At  top  and  base  a  band  of  mock-Arabic 
inscription,  separated  from  the  central  zone  by 
narrow  bands  of  creamy  white,  with  luster  deco- 
ration. 

Luster. — Pale  brownish  golden,  changing 
to  violet  and  rose. 

Valencia,  first  half  of  fifteenth  century. 

Plate  IV 

From  the  collection  of  the  late  M.  Boy 
(No.  49). 

8.  DEEP  DISH. 

Diameter,  19*4  inches. 
Depth,  4l/2  inches. 

Width  of  brim,  or  marly,  2^2  inches. 

Form. — Flat  base,  straight  sides,  slightly 
sloping  outward  to  the  top,  and  flat,  horizontal 
brim. 

Design. — In  centre  an  intricate  pattern  of 
strap-work  in  white,  bordered  by  heavy  blue 
lines,  the  spaces  enclosing  each  a  leaf-shaped 
ornament  in  luster,  on  blue  ground.  Around  the 
marly  a  border  pattern  composed  of  large  flow- 
ers (marguerites)  alternating  with  a  conven- 
tional ornament.  Two  similar  floral  bands  en- 
circle the  inner  side  and  two  the  outer.  Arms. — 
Ecu  en  banniere;  quarterly:  1-4,  a  lion  ram- 
pant;  2-3,  a  triple-towered  castle. 

[50] 


Plate  IV 


Plate  V 


8.  Deep  Dish  with  Arms  of  Castile-Leon 
Valencia  (Manises) 
Late  Fifteenth  Century 


Luster. — Brownish,  changing  to  blue,  violet, 
and  ruby,  brilliantly  iridescent. 
Manises  (?),  late  fifteenth  century.  Plate  V 

As  Mr.  Van  de  Put  remarks  about  another 
dish  with  similar  heraldic  device,  "The  inversion 
of  the  Castilian  quarterings  is  probably  an  artis- 
tic license." 

9.  DISH. 

Diameter,  13^8  inches. 

Form. — Curved  cavetto,  flat  horizontal  brim. 
Small  boss  in  centre. 

Design. — A  bird  in  centre  and  four  bryony 
leaf  ornaments  around  marly  in  blue.  Diapering 
of  dots  with  tendrils  forming  circles  enclosing 
four-,  five-  and  six-petaled  flowers  in  luster,  on 
creamy  ground. 

Luster. — Brownish  golden,  changing  to 
blue  and  violet. 

Valencia,  late  fifteenth  century.  Plate  VI 

10.  PLATE. 

Diameter,  11  inches. 

Form. — Shallow  cavetto,  flat,  sloping  marly. 

Design. — Large  bird  (pigeon)  in  centre  in 
blue.  Diapering  of  dots  with  circles  composed 
of  tendrils,  enclosing  four-  and  six-petaled  flow- 
ers in  luster  on  a  creamy  ground. 

Luster. — Brownish,  changing  to  blue,  ruby, 
and  violet. 

Valencia,  late  fifteenth  century.  Plate  VII 

[55] 


11.  DISH. 

Diameter,  11%  inches. 

Form. — Deep,  curved  cavetto;  flat,  slightly 
sloping  marly;  small  boss  in  centre. 

Design. — A  bird  in  centre,  surrounded  by 
four-,  five-  and  six-petaled  flowers  in  blue,  within 
rings  of  tendrils,  from  which  spring  bryony 
leaves,  alternating  with  circles  enclosing  four- 
petaled  flowers  in  luster.  Around  marly  similar 
decoration,  in  which  is  an  inscription  in  Gothic 
lettering,  "Ave  Maria  Gra  (tia)  Plena,"  in 
blue.    Dotted  ground  in  luster. 

Luster. — Pale  golden,  with  traces  of  iri- 
descent blue. 

Valencia,  late  fifteenth  century  (1470-1490). 

Plate  VI 1 1 

A  similar  dish,  with  figure  of  greyhound 
and  same  inscription  is  in  the  Osma  collection  in 
Madrid. 

12.  PLATE. 

Diameter,  n}i  inches. 

Form. — Shallow,  curved,  broad  cavetto; 
horizontal,  slightly  guttered  marly. 

Design. — In  centre  a  conventional  flower  in 
blue;  diaper  of  small  stars  in  luster  on  a  pinkish, 
creamy  ground. 

Luster. — Brownish,  changing  to  blue  and 

lilac. 

Valencia,  late  fifteenth  century. 

[56] 


Plate  VI 


g.  Dish 
Valencia 
Late  Fifteenth  Century 


Plate  VII 


10.  Plate 
Valencia 
Late  Fifteenth  Century 


Plate  VIII 


ii.  Dish 
Valencia 
Late  Fifteenth  "Century 


13.  DISH. 

Diameter,  18^2  inches. 

Depth,  1%  inches. 

Width  of  brim,  2*4  inches. 

Form. — Flat  base,  straight  sides,  and  flat, 
horizontal  marly. 

Design. — Diaper  of  large  vine  leaf  pattern 
in  luster.  Arms. — A  triple-towered  castle.  Scroll- 
work on  back. 

Luster. — Brownish    golden,    changing  to 
purple,  lilac,  and  a  beautiful  ruby. 
Valencia,  first  half  of  fifteenth  century.  Plate  IX 

From  the  Hakky-Bey  collection  (No.  75). 

14.  DISH. 

Diameter,  17  inches. 
Depth,  2*4  inches. 
Width  of  brim,  2  inches. 

Form. — Flat  base,  straight  sides,  and  flat, 
horizontal  brim. 

Design. — Diaper  of  bryony  leaves,  tendrils 
and  flowers  in  dark  blue,  interspersed  with  other 
leaves  and  flowers  in  luster,  on  creamy  ground. 
Around  vertical  sides  the  same  pattern  in  luster. 
In  centre  the  arms  of  Guasconi,  of  Florence  — 
three  chevrons,  with  a  Greek  cross  at  the  apex 
of  the  central  one  —  as  identified  by  Van  de  Put. 
Similar  decoration  on  back. 

Luster. — Golden,  changing  to  a  purplish 
ruby. 

Valencia,  third  quarter  of  the  fifteenth  century. 

Plate  X 

[63] 


15.  PLAQUE. 

Diameter,  ij%  inches. 

Form. — Shallow,  curved  cavetto;  flat,  hori- 
zontal brim ;  slightly  convex  centre. 

Design. — Diaper  of  bryony  leaves  and  flow- 
ers in  blue.  Tendrils  and  flowers  in  luster  on 
creamy  ground.  Arms. — Ecusson  a  bouche,  with 
bend,  on  which  are  three  birds  between  two 
cinquefoils.  On  back,  bryony  leaves  in  blue  and 
luster. 

Luster. — Dark  golden  or  coppery,  changing 
to  violet. 

Valencia,  latter  half  of  fifteenth  century. 

Plate  XI 

16.  PLAQUE. 

Diameter,  17%  inches. 

Form. — Flat,  slightly  convex  centre;  sides 
sloping  upward. 

Design. — Diaper  of  bryony  leaves  and  flow- 
ers in  blue,  with  tendrils  in  luster  on  creamy 
ground.  Under  side  decorated  with  concentric 
rings  in  luster.  In  central  circle  the  sacred  mon- 
ogram IHS  in  luster. 

Luster. — Brownish,  changing  to  blue  and 
violet. 

Valencia,  third  quarter  of  fifteenth  century. 

Plate  XII 


[64] 


Plate  IX 


13.  Dish 
Valencia 
Fifteenth  Century 


Plate  X 


14.    Dish  With  Guasconi  Arms 
Valencia 
Late  Fifteenth  Century 


Plate  XI 


15.  Plaque 
Valencia 
Late  Fifteenth  Century 


Plate  XII 


1 6.  Plaque 
Valencia 
Late  Fifteenth  Century 


PLAQUE. 

Diameter,  17  inches. 

Form. — Curved  cavetto;  flat  marly,  sloping 
upward. 

Design. — Bryony  leaves  and  flowers  in  blue 
with  diaper  of  tendrils  in  luster.  Arms. — Bendy 
of  five  cream  white  and  purple  charged  with  a 
lion  rampant  in  blue.  On  base,  large  bryony 
leaves  in  blue  with  tendrils  in  luster. 

Luster. — Pale  golden,  changing  to  violet. 
Valencia,  third  quarter  of  fifteenth  century. 

Plate  XI T I 

PLATE. 

Diameter,  ioJ/2  inches. 

Form. — Shallow  plaque. 

Design. — Bryony  leaves  and  flowers  in  dark 
blue,  tendrils  in  luster.  Arms. — Barry  of  six 
ground  color  and  blue.  On  base,  large  bryony 
leaves  in  blue. 

Luster. — Brownish,  changing  to  blue  and 
violet. 

Valencia,  third  quarter  of  fifteenth  century. 

Plate  XIV 

DISH. 

Diameter,  15^$  inches. 

Depth,  1  inch. 

Width  of  brim,  1^  inches. 

Form. — Flat  base,  vertical  sides;  flat  marly, 
sloping  slightly  upward. 

Design. — Circles  formed  by  tendrils,  enclos- 
ing a  six-petaled  flower,  from  which  springs  a 

[73] 


bryony  leaf,  all  in  blue.  Five  hexagonal  figures, 
with  incised  outlines,  each  enclosing  a  large  six- 
lobed  flower.  Dotted  diaper  in  luster  on  creamy 
ground.    Similar  decoration  on  back,  in  luster. 

Luster. — Golden,  changing  to  blue  and 
violet. 

Valencia,  third  quarter  of  fifteenth  century. 

Plate  XV 

20.  PLATE. 

Diameter,  14^  inches. 

Form. — Shallow,  curved  cavetto;  flat,  up- 
ward-sloping brim ;  slightly  convex  centre. 

Design. — Divided  into  eight  compartments 
by  blue  lines,  terminating  in  three-lobed  leaves. 
Diaper  of  three-,  five-  and  six-petaled  flowers 
in  circles  formed  of  tendrils  in  luster,  on  creamy- 
ground.    Similar  ornament  in  luster  on  back. 

Luster. — Pale  golden,  with  touch  of  blue. 
Valencia,  third  quarter  of  fifteenth  century. 

Plate  XVI 

21.  DEEP  DISH. 

Diameter,  ig]4-  inches. 

Depth,  4  inches. 

Width  of  marly,  2*4  inches. 

Form. — Flat  base;  straight  sides,  slightly 
sloping  outward ;   flat  marly. 


[74] 


Plate  XIII 


17.  Plaque 
Valencia 
Late  Fifteenth  Century 


Plate  XIV 


18.  Plate 
Valencia 
Late  Fifteenth  Century 


Plate  XV 


19.  Dish 
Valencia 
Late  Fifteenth  Century 


Plate  XVI 


20.  Plate 
Valencia 
Late  Fifteenth  Century 


Plate  XVII 


21.  Deep  Dish 
Valencia 
Late  Fifteenth  Century 


Design. — Bryony  leaves  and  flowers  in  dark 
blue,  with  tendrils  in  luster.  In  centre,  the  sacred 
monogram  IHS  in  luster.  Same  design  out- 
side. On  base,  concentric  rings  with  rosette  in 
centre. 

Luster. — Pale  golden. 

Valencia,  third  quarter  of  fifteenth  century. 

Plate  XVII 

Collection  of  Emile  Gaillard  (No.  406). 

22.  DEEP  DISH. 

Diameter,  18^4  inches. 

Depth,  4  inches. 

Width  of  marly,  2Y/2  inches. 

Form. — Similar  to  preceding. 
Design. — Similar  to  preceding. 
Luster. — Golden,    changing   to    blue  and 
violet. 

Valencia,  third  quarter  of  fifteenth  century. 

Plate  XVIII 

From  the  collection  of  the  late  M.  Boy 
(No.  53). 

23.  PLAQUE. 

Diameter,  18  inches. 

Form. — Cavetto  and  marly  merged  in  one 
continuous  curve. 

[85] 


Design. — Diaper  of 
vine  leaves  in  blue,  alter- 
nating with  other  vine 
leaves  in  luster,  from 
which  spring  tendrils  and 
small  flowers  in  luster,  on 
creamy  ground.  In  cen- 
tre, the  arms  of  Cardinal 
Despuig  in  luster  on 
creamy  ground.  On  back, 
an  eagle  covering  the  en- 
tire surface,  in  luster. 
Luster. — Golden,  changing  to  violet  and 

blue. 

Valencia,  third  quarter  of  fifteenth  century. 

Plate  XIX 

DISH. 

Diameter,  14^  inches. 

Depth,   1%  inches. 

Width  of  marly,  1%  inches. 

Form. — Flat  base,  vertical  sides  and  hori- 
zontal marly. 

Design. — Vine  leaves  in  blue  alternating 
with  other  vine  leaves  in  luster,  from  which 
spring  flowers  and  leaves  in  luster.  Scrolled 
design  in  luster  outside.  The  arms  of  Despuig 
in  dark  blue  on  luster  ground.  On  base,  a  spiral 
in  luster  covering  entire  surface. 

Luster. — Brownish,  changing  to  madre- 
perla. 

Valencia,  third  quarter  of  fifteenth  century. 

j-ggj  Plate  XX 


Plate  XVIII 


22.  Deep  Dish 
Valencia 
Late  Fifteenth  Century 


Plate  XIX 


23.  Plaque  with  Despuig  Arms 
Valencia 
Fifteenth  Century 


Plate  XX 


24.  Dish  with  Despuig  Arms 
Valencia 
Fifteenth  Century 


25.  PLAQUE. 

Diameter,  17  inches. 

Form. — Curved  cavetto,  upward  curving 
marly.    Centre  slightly  convex. 

Design. — A  diaper  of  vine  leaves  and  small 
flowers  in  luster.  Armorial  design  in  centre. 
Back  decorated  with  a  spiral  in  luster,  covering 
entire  surface. 

Luster. — Coppery,  changing  to  violet. 
Valencia,  third  quarter  of  fifteenth  century. 

Plate  XXI 

26.  PLAQUE. 

Diameter,  ijl/2  inches. 

Form. — Cavetto  and  marly  in  one  continu- 
ous curve. 

Design. — Diaper  of  vine  leaves  in  blue, 
alternating  with  other  vine  leaves,  from  which 
spring  small  flowers  and  spirals  in  luster.  Arms. — 
A  lion  rampant  counterchanged  in  blue  and 
brown,  on  a  shield  party  per  Fesse.  Back  deco- 
rated with  a  spiral  in  luster  covering  entire 
surface. 

Luster. — Brownish,  changing  to  violet  and 

blue. 

Valencia,  third  quarter  of  fifteenth  century. 

Plate  XXII 


[93] 


27.  PLAQUE. 

Diameter,  17^3  inches. 

Form. — Same  as  last. 

Design. — Similar  decoration.  Arms. — A 
lion  rampant  in  blue  on  brown  ground;  shield 
surrounded  by  laurel  leaf  wreath. 

Luster. — Brownish,  changing  to  blue  and 
violet. 

Valencia,  third  quarter  of  fifteenth  century. 

Plate  XXIII 


28.  PLAQUE. 

Diameter,  17^  inches. 

Form. — Cavetto  and  marly  in  one  continu- 
ous curve. 

Design. — Vine  leaves  and  flowers  in  luster. 
Arms. — A  lion  rampant  in  blue  on  yellow  luster 
ground.    On  back,  a  large  spiral  in  luster. 
Valencia,  third  quarter  of  fifteenth  century. 

Plate  XXIV 

29.  PLATE. 

Diameter,  12^/2  inches. 

Form. — Slightly  curved,  with  a  depressed 
line  separating  marly  from  cavetto. 

Design. — A  chain  of  large  marguerites  or 
rosettes  around  central  shield,  and  another  en- 
circling the  brim,  in  luster,  with  blue  centres  and 
enclosed  in  blue  links.    Arms. — Shield  with  bull 

[94] 


Plate  XXI 


25.  Plaque 
Valencia 
Late  Fifteenth  Century 


Plate  XXII 


26.  Plaque 
Valencia 
Fifteenth  Century 


Plate  XXIII 


27.  Plaque 
Valencia 
Late  Fifteenth  Century 


Plate  XXIV 


28.  Plaque 
Valencia 
Late  Fifteenth  Century 


Plate  XXV 


29.  Plate  with  Buyl  Arms 
Valencia  (Manises) 
Late  Fifteenth  Century 


in  luster  on  creamy  ground,  the  heraldic  ensign 
of  the  house  of  Boil,  or  Buyl,  of  Manises.  Back 
decorated  with  spiral  in  luster. 

Luster. — Brownish,  changing  to  blue  and 
violet. 

Valencia  (Manises),  late  fifteenth  century. 

Plate  XXV 

Presented  by  Senor  G.  J.  de  Osma,  of  Madrid. 
ALBARELLO. 

Height,  12^4  inches. 

Design. — Bryony  leaves  and  flowers  in  blue 
with  spirals  and  tendrils  in  luster.  In  blue  on 
creamy  ground,  the  escutcheon  of  one  of  the 
religious  orders. 

Luster. — Brownish,  changing  to  blue  and 
violet. 

Valencia,  third  quarter  of  fifteenth  century. 

Plate  XXVI 

ALBARELLO. 

Height,  1 1^4  inches. 

Design. — Divided  into  five  vertical  panels, 
each  containing  an  upright  stalk,  from  which 
spring  at  either  side  bryony  leaves  and  flowers 
in  blue.  Spirals  and  tendrils  in  luster  in  the 
interspaces. 

Luster. — Brownish,  changing  to  blue  and 
violet. 

Valencia,  third  quarter  of  fifteenth  century. 

Plate  XXVI 

[105] 


ALBARELLO. 

Height,  11^4  inches. 

Design. — Similar  to  preceding. 
ALBARELLO. 

Height,  12V4  inches. 

Form. — Tapering  inward  toward  the  top. 

Design. — Large  three-  and  five-parted 
leaves  in  dark  blue.  Clusters  of  berries  (three), 
tendrils  and  small  leaves,  in  luster.  Blue  and 
luster  bands  encircling  jar  at  top,  bottom  and 
centre.    Basket  pattern  around  collar. 

Luster. — Brownish,  changing  to  blue  and 
violet. 

Valencia,  third  quarter  of  fifteenth  century. 

Plate  XXVII 

ALBARELLO. 

Height,  1^/2  inches. 

Design. — Divided  into  two  sections  by  band 
around  middle,  from  which  leaf -shaped  orna- 
ments spring  above  and  below,  all  in  blue,  the 
spaces  between  being  filled  with  leaves,  tendrils 
and  flowers  in  luster. 

Luster. — Brownish. 
Valencia,  third  quarter  of  fifteenth  century. 

Plate  XXVII 

ALBARELLO. 

Height,  I3T4  inches. 

Companion  to  preceding.  Plate  XXVII 

[106] 


Plate  XXVI 


Plate  XXVII 


36.  ALBARELLO. 

Height,  11%  inches. 

Design. — Divided  into  two  sections  by  blue 
and  luster  band  around  centre,  from  which  spring- 
blue  leaf-shaped  ornaments  and  carnations  in 
luster.  Bands  of  blue  and  luster  around  base 
and  elongated  collar. 

Luster. — Coppery,  changing  to  ruby. 
Valencia,  second  half  of  fifteenth  century. 

Plate  XXVIII 

37.  ALBARELLO. 

Height,  i3T/s  inches. 

Design. — Divided  into  three  vertical  panels 
by  slender  stalks  which  send  out  at  either  side 
large  leaves  in  blue.  The  spaces  between  are 
filled  with  leafage  in  luster. 

Luster. — Pale  golden,  changing  to  blue  and 
violet. 

Valencia,  third  quarter  of  fifteenth  century. 

Plate  XXVIII 
From  the  collection  of  the  late  M.  Boy. 

38.  ALBARELLO. 

Height,  12  inches. 

Design. — Enormous  leaves  and  flowers  in 
blue,  with  fern  leaves  and  flowers  between,  in 
luster. 

Luster. — Golden,  changing  to  blue  and 
violet. 

Valencia,  fifteenth  century.  Plate  XXVIII 

[in] 


39.  ALBARELLO. 

Height,  12^4  inches. 

Design. — Large  vine  leaves  in  blue  and  in 
luster,  from  which  spring  tendrils,  leaves  and 
small  flowers  in  luster. 

Luster. — Brownish,  changing  to  blue  and 
violet. 

Valencia,  third  quarter  of  fifteenth  century. 

Plate  XXVI 

40.  ALBARELLO. 

Height,  11^8  inches. 

Design. — Six  horizontal  bands.  Diaper  of 
small  vine  leaves  in  blue  and  in  luster  with  scrolls 
and  tendrils  in  luster. 

Luster. — Brownish,  changing  to  blue  and 
violet. 

Valencia,  third  quarter  of  fifteenth  century. 

Plate  XXIX 

41.  ALBARELLO. 

Height,  n*4  inches. 

Companion  to  above. 

42.  ALBARELLO. 

Height,  11^8  inches. 
Similar  to  above. 

Luster.  —  Beautifully   iridescent  —  madre- 
perla,  blue,  and  violet  tones. 
Valencia,  second  half  of  fifteenth  century. 

Plate  XXIX 

[112] 


Plate  XXVIII 


Plate  XXIX 


43.  ALBARELLO. 

Height,  6l/2  inches. 

Design. — Three  horizontal  zones  of  vine- 
leaf  pattern,  separated  by  broad  bands,  all  in 
luster. 

Luster. — Brownish,  changing  to  blue  and 
violet. 

Valencia,  sixteenth  century.  Plate  XXX 

44.  ALBARELLO. 

Height,  6^4  inches. 
Companion  to  above.  Plate  XXX 

45.  PHARMACY  JAR. 

Height,  8%  inches. 

Form. — Jar  shaped,  with  handle  at  back  and 
short  spout  in  front. 

Design. — Large  vine  leaves  in  blue  and  in 
luster,  with  flowers  and  scroll-work  between. 

Luster. — Brownish,  changing  to  blue  and 
violet. 

Valencia,  sixteenth  centurv.  Plate  XXXI 

46.  PLAQUE. 

Diameter,  iyy2  inches. 

Design. — Divided  into  sixteen  segmental 
compartments  by  raised  ribs  radiating  from  a 
central  circle  and  curved  at  the  ends,  each  sec- 
tion enclosing  five  raised  pellets,  in  imitation  of 

[117] 


the  joints  and  rivets  of  metal  plaques.  Outside 
of  the  circle  the  surface  is  covered  with  a  dot- 
and-stalk  diaper,  running  lengthwise  with  the 
panels.  Arms. — A  dragon's  head,  crowned.  Re- 
verse, a  diaper  of  ovals  formed  of  tendrils  enclos- 
ing feather-like  designs  in  luster. 

Luster. — Madreperla,  with  blue,  violet,  and 
ruby  reflections. 

Valencia,  third  quarter  of  fifteenth  century. 

Plate  XXXII 

47.  PLAQUE. 

Diameter,  17 inches. 

Design.  —  Dot-and-stalk  diaper  running 
transversely  across  the  panels.  There  are  two 
circles  of  radiating  compartments,  outlined  with 
raised  ribs,  the  inner  one  containing  thirty,  the 
outer  fifty-two,  without  pellets.  Arms. — A  lion 
rampant  in  creamy  white,  reserved  in  luster 
ground.  Reverse,  a  diaper  of  ovals,  formed  of 
tendrils  enclosing  feather-like  designs  in  luster. 

Luster. — Pale  golden,  changing  to  blue, 
violet,  and  rose. 

Valencia,  third  quarter  of  fifteenth  century. 

Plate  XXXIII 

48.  PLAQUE. 

Diameter,  17%  inches. 

Design. — Eighteen  radiating  compartments 
decorated  in  three  styles  (six  of  each)  :  a.  Dot 
and  stalk ;   b.  Thistle-like  flowers  with  tendrils 

[n8] 


43,  44-  Albarellos 

Valencia 
Sixteenth  Century 


Plate  XXXI 


45.  Pharmacy  Jar 

Valencia 
Sixteenth  Century 


Plate  XXXII 


46.  Plaque 
Valencia 
Late  Fifteenth  Century 


Plate  XXXTTI 


47.  Plaque 
Valencia 
Late  Fifteenth  Century 


Plate  XXXIV 


48.  Plaque 
Valencia 
Late  Fifteenth  Century 


and  dots;  c.  An  Arabic  conventional  pattern, 
simulating  mosaic  work;  disposed  regularly  in 
the  above  order.  The  relief  lines  are  touched  at 
equidistant  points  with  blue.  Reverse,  a  diaper 
of  ovals  formed  of  tendrils,  enclosing  feather- 
like ornaments  in  luster.  Arms. — A  lion  rampant 
in  creamy  white,  reserved  in  luster. 

Luster. — Golden,  changing  to  blue  and 
violet. 

Valencia,  late  fifteenth  century  or  early  sixteenth. 

Plate  XXXIV 

49-  BOWL. 

Diameter,  %y2  inches. 
Depth,  2>14>  inches. 

Diameter,  including  handles,  12%  inches. 

Form. — Hemispherical,  having  four  horizon- 
tal scalloped  wing-shaped  handles  projecting  at 
equidistant  points  from  the  upper  edge. 

Design. — Encircling  the  interior,  bands  of 
wheel,  net,  and  tree-shaped  patterns  in  luster, 
which  are  also  extended  over  the  handles. 
Arms. — An  eagle  in  luster  on  a  creamy  ground. 
Outer  side  and  base,  diaper  of  large  ovals  con- 
taining coarse  feather-like  designs  in  luster. 

Luster. — Brownish,  changing  to  ruby,  blue, 
violet,  with  touches  of  green. 
Valencia,  sixteenth  century.  Plate  XXXV 


[129] 


50.  DISH. 

Diameter,  iyl/2  inches. 

Depth,  1^4  inches. 

Width  of  marly,  2l/l\  inches. 

Form. — Flat  base,  perpendicular  sides.  Flat 
marly,  slightly  sloping  upward. 

Design.  —  Sixteen  compartments,  outlined 
with  raised  ribs,  radiating  from  a  central  circle, 
containing  alternately  dot-and-stalk  diaper  and 
a  thistle-like  pattern,  in  luster.  Around  the  sides 
and  extending  over  the  brim,  lustered  panels  of 
diapering.  On  base,  concentric  circles  of  luster. 
The  arms  of  Subira  of  Vilafranca  del  Par- 
ades (  ?). 

Luster. — Reddish  brown,  changing  to  blue 
and  violet. 

Valencia,  third  quarter  of  fifteenth  century. 

Plate  XXXVI 

51.  PLAQUE. 

Diameter,  19  inches. 

Form. — Slightly  depressed  centre,  with  con- 
vex boss  and  convexly  curving  sides. 

Design. — Lines  radiating  from  centre  carry- 
ing large  tulip-shaped  flowers,  with  tendrils  and 
flowerets  between.  In  center,  a  crowned  lamb 
with  pennant  (Agnus  Dei)  in  luster.  On  base, 
concentric  rings  in  yellow. 

Luster. — Brownish,    changing    to  yellow 
with  touches  of  blue  and  violet. 
Valencia,  late  fifteenth  century.       Plate  XXXVII 

[130] 


Plate 


XXXV 


49.  Bowl 
Valencia 
Sixteenth  Century 


Plate  XXXVI 


50.  Dish  with  Arms  of  Subira  (?) 
Valencia 
Late  Fifteenth  Century 


Plate  XXXVTI 


51.  Plaque 
Valencia 
Late  Fifteenth  Century 


52.  PLAQUE. 

Diameter,  iSl/2  inches. 

Form. — Slightly  depressed  centre,  with  con- 
vex boss  and  upward  curving  sides. 

Design. — Large  figure  of  a  lion  rampant 
and  cluster  of  three  leaf-shaped  ornaments  in 
heavy  blue  outline,  filled  in  with  diapering  of 
dots  and  scales.  Ground-work  of  coarse  leaves, 
fruit  and  flowerets  in  luster.  Reverse,  ovals  en- 
closing large  feather-like  ornaments  in  luster. 

Luster. — Pale  golden,  changing  to  blue  and 
violet. 

Valencia,  late  fifteenth  century.     Plate  XXXVIII 

53.  PLAQUE. 

Diameter,  17?^  inches. 

Form. — Slightly  depressed  cavetto,  with  flat 
centre  and  sloping  sides.  Broad  flat  brim,  slightly 
sloping  upward. 

Design. — Three  concentric  wreaths  of  large 
pointed  leaves,  alternately  blue  and  luster,  the 
intervening  spaces  being  filled  in  with  fern-like 
leaves  and  berries  in  luster.  Arms. — A  chevron 
in  blue  and  creamy  white  on  luster  ground.  Re- 
verse, bryony-leaf  design  in  blue  and  luster. 

Luster. — Brownish,  changing  to  blue  and 
violet  (madreperla). 

Valencia,  third  quarter  of  fifteenth  century. 

Plate  XXXIX 

[137] 


54.  DISH. 

Diameter,  17^  inches. 

Form. — Concave  cavetto,  straight,  slightly 
sloping  brim. 

Design. — Large  curled  leaves  with  tendrils 
and  berries  between,  all  in 
luster.  On  marly  and  ex- 
tending into  the  cavetto, 
five  large  four-petaled  or- 
naments in  blue  and  lus- 
ter. A  shield,  outlined 
heavily  in  blue,  bearing 
three  plant-shaped  devices 
(thistles?)  in  luster  on 
creamy  ground.  Reverse, 
large  figure  of  a  stork- 
like bird  in  luster,  surrounded  by  leafage  in 
luster. 

Luster. — Brownish,  changing  to  blue,  rose, 
and  violet  (madreperla) . 

Valencia,  late  fifteenth  century.  Plate  XL 

55.  CENTRE  OF  DISH. 

Diameter,  11  inches. 
Height,  2  inches. 

Form. — Flat  base,  with  convex  boss  in  cen- 
tre. Vertical  sides  slightly  curving  inward  at  the 
top.    The  broad  brim  is  missing. 

Design. — Concentric  bands  of  small  wheels, 
dotted  diapering  and  flowers  and  buds,  in  blue 

[138] 


Plate  XXXVI II 


52.  Plaque 
Valencia 
Late  Fifteenth  Century 


Plate  XXXIX 


53.  Plaque 
Valencia 
Late  Fifteenth  Century 


Plate  XL 


54.  Dish 
Valencia 
Late  Fifteenth  Century 


Plate  XL1 


55.  Centre  of  Dish 
Valencia  (Manises) 
Late  Fifteenth  Century 


and  luster.  Arms. — A  bull,  the  heraldic  emblem 
of  the  Buyls,  the  lords  of  Manises  in  the  fifteenth 
century.    Reverse,  feather-like  ornaments. 

Luster. — Brownish,  changing  to  golden, 
blue,  and  violet. 

Valencia  (Manises),  latter  half  of  fifteenth  cen- 
tury. Plate  XLI 

56.  PLATEAU. 

Diameter,  i6j4  inches. 

Form. — Flat  base,  straight  sides  sloping  out- 
ward, with  loop  ornaments  around  the  edge.  In 
centre,  a  similar  wall,  forming  a  trcmblcusc  to 
hold  an  ewer  in  place. 

Design.  —  Large, 
pointed,  leaf-shape  orna- 
ments and  scrolls  (fleur- 
de-lis  diaper)  in  luster. 
Large  floral  ornaments  in 
blue  surrounding  the  cen- 
tral designs.  Arms.  — 
Quartered  arms  of  Castile 
and  Leon  in  luster  on 
creamy  ground.  On  base, 
large  eagle  in  luster,  with 
shield  on  breast  containing  a  rabbit.  Around 
outside,  large  blue  flowers. 

Luster. — Golden  and  greenish  with  traces 
of  blue  and  violet. 

Valencia,  third  quarter  of  fifteenth  century. 

Plate  XLII 

[147] 


57-  DISH. 

Diameter,  15%  inches. 

Form. — Deep,  curving  cavetto,  with  convex 
boss  in  centre.    Broad,  upward-sloping  marly. 

Design. — Circles  of  conventional  floral  and 
leaf  ornaments  in  luster.  In  centre,  a  rosette. 
Around  margin  and  cavetto,  a  simulated  Chris- 
tian inscription  (see  No.  66).  Reverse,  rude 
feather-like  designs. 

Luster. — Deep  purplish  or  coppery  golden. 
Valencia,  sixteenth  century.  Plate  XLIII 

58.  DISH. 

Diameter,  12%  inches. 

Form. — Shallow  bowl-shaped. 

Design. — Boldly  painted  conventional  leaves 
and  flowers  in  luster.  Reverse,  scrolls  and  con- 
centric circles  in  luster. 

Luster. — Brown,  changing  to  violet,  show- 
ing touches  of  blue. 

Hispano-Moresque,  seventeenth  century. 
59.  PLAQUE. 

Diameter,  16  inches. 

Form. — Depressed  centre,  with  boss  of  trun- 
cated cone  shape.    Sides  sloping  upward. 

Design. — Entire  surface  divided  into  eight 
kite-shaped  lobes  by  broad  blue  lines,  each  com- 
partment containing  a  conventional  floral  design, 
alternately  luster  on  creamy  ground  and  creamy 

[i48] 


Plate  XLII 


56.  Plateau  with  Arms  of  Castile-Leon 
Valencia 
Late  Fifteenth  Century 


Plate  XLIII 


57.  Dish 
Valencia 
Sixteenth  Century 


94-  Dish 
Hispano-Moresque 
Sixteenth  Century 


white  in  a  luster  field.  Reverse,  decorated  with 
concentric  circles  and  rude  feather-like  motives. 

Luster. — Brown,  changing  to  blue  and  violet 
(madreperla) . 

Hispano-Moresque,  sixteenth  century. 


60.  PLATE. 

Diameter,  14  inches. 

Design.  —  A  rudely 
painted  four-armed  figure 
with  a  leaf-shaped  orna- 
ment in  each  of  the  four 
spaces  on  a  dotted  ground. 
Reverse,  concentric  rings 
and  a  monogram-like  char- 
acter in  luster  in  centre. 

Luster. — Brownish, 
changing  to  violet. 
Hispano-Moresque,  six- 
teenth century. 


61.  PLATE. 

Diameter,  \2}/2  inches. 

Form. — Slightly  sunken  cavetto,  with  cen- 
tral boss. 

Design. — A  boldly  painted  border  pattern 
consisting  of  seven  semi-circular  divisions,  with 
cross-hatched  decoration  in  luster.  In  the  spaces 
between  are  conventional  flowers.     In  centre, 

[155] 


concentric  rings  enclosing  a  rude  floral  design. 
Reverse,  a  few  concentric  rings  in  luster. 

Luster. — Brownish,  changing  to  dark  gol- 
den, with  traces  of  blue  and  violet. 
Hispano-Moresque,  sixteenth  century. 

62.  PLAQUE. 

Diameter,  15%  inches. 

Form. — Depressed  centre,  with  slightly 
raised  boss,  and  broad  brim  curling  outward. 

Design. — A  boldly  painted  floral  and  leaf 
design  in  centre  in  luster;  around  marly,  rudely 
painted  leaf  and  floral  forms  in  luster.  Two 
broad  blue  parallel  straight  lines  divide  the  sur- 
face into  three  parts.  Reverse,  a  few  concentric 
circles  in  luster. 

The  clay  is  dark  and  of  coarse  texture. 

Luster. — Brownish,  changing  to  golden, 
blue,  and  violet. 

Hispano-Moresque,  seventeenth  century. 

63.  DISH. 

Diameter,  12^  inches. 

Form. — Deep  centre,  with  small  convex 
boss.    Broad  marly  curving  outward. 

Design. — A  broad  band  of  cross-hatching 
covering  the  marly.  In  centre,  broad  bands  of 
luster  enclosing  a  rudely  painted  tree-shaped 
ornament.    Reverse,  concentric  rings  of  luster. 

Coarse  clay. 

[156] 


Luster. — Coppery,  with  touches  of  blue  and 
violet. 

Hispano-Moresque,  seventeenth  century. 

64.  PLATE. 

Diameter,  12^  inches. 

Form. — Slightly  depressed  cavetto,  with  low 
boss  in  centre. 

Design. — Central  plant-like  ornament  in 
luster,  surrounded  by  a  narrow  band  of  simulated 
Christian  inscription  (see  No.  100).  On  broad 
marly,  four  large  tulip-shaped  motives  in  luster, 
with  blue  centres,  alternating  with  a  rudely  drawn 
leaf  ornament  in  luster.  Reverse,  concentric 
rings  in  luster. 

Luster. — Brownish,  changing  to  golden, 
blue,  and  violet. 

Hispano-Moresque,  seventeenth  century. 

Plate  XLV 

65.  CUP. 

Diameter,  5  inches. 

Form. — Bowl  shaped,  with  two  horizontal 
handles  extending  from  upper  rim. 

Design. — A  crude  quartered  design  of  con- 
ventional flowers  and  leafage. 

Luster. — Pale  brown,  changing  to  golden 
of  low  tone. 

Hispano-Moresque,  seventeenth  century. 

[157] 


66.  PLAQUE. 

Diameter,  15^  inches. 

Form. — Depressed  centre,  with  boss  in  form 
of  truncated  cone. 

Design. — Luster  star  on  white  ground  occu- 
pying centre  of  boss,  surrounded  by  a  Christian 
inscription  in  white  reserved  in  luster :  V. 
RBITIERB,  repeated.  This  is  probably  a  modifi- 
cation of  the  phrase  used  in  the  publication  of 
Papal  bulls,  "Urbi  et  Orbi"  (to  the  city  [Rome] 
and  the  world).  Around  the  marly  a  painted 
diagonal  design  in  luster  of  godroons  of  three 
varieties,  solid  luster,  dotted  diaper  and  floral. 
Reverse,  feather-like  motives  and  concentric 
circles. 

Luster. — Greenish  golden,  changing  to  vio- 
let and  blue. 

Hispano-Moresque,  sixteenth  century.  Plate  XLVI 
Gift  of  Mr.  Lionel  Harris,  London. 

67.  PLAQUE. 

Diameter,  15^  inches. 

Form. — Curved  cavetto,  with  central  boss. 
Broad,  upward  sloping  marly. 

Design. — Around  the  central  boss  a  band 
of  arabesque  ornament  in  luster,  surrounded  by 
a  simulated  Christian  inscription  derived  from 
the  preceding.  The  marly  is  decorated  with  cir- 
cles and  triangles  in  blue  enclosing  floral  orna- 

[158] 


64.  Plate 
Hispano-Moresque 
Seventeenth  Century 


Plate  XLVI 


66.  Plaque 
Hispano-Moresque 
Sixteenth  Century 


Plate  XLVTT 


67.  Plaque 
Valencia 
Seventeenth  Century 


ments  in  luster.  In  the  spaces  between  are  scrolls 
and  marguerites.  Reverse,  bold  feather-like  orna- 
ments and  concentric  circles  in  luster. 

Luster. — Brownish,  changing  to  silver,  blue, 
and  violet. 

Valencia,  seventeenth  century.  Plate  XLVII 

68.  PLAQUE. 

Diameter,  i6J4  inches. 

Form. — Curved  cavetto,  with  central  flat- 
topped  boss.  Marly  curving  upward  and  out- 
ward. 

Design.  —  Four-branched  ornament  in 
creamy  white  in  centre,  on  luster  ground,  sur- 
rounded by  a  godroon  circle  in  luster.  Around 
the  marly  a  similar  diagonal  band  of  godroons 
in  luster.  Reverse,  feather-like  ornaments  and 
concentric  circles  in  luster. 

Luster. — Brown,  changing  to  blue  and  vio- 
let (madreperla). 

Hispano-Moresque,  seventeenth  century. 

Plate  XLVIII 

69.  PLAQUE, 

Diameter,  15^  inches. 

Form.  —  Depressed  centre,  with  slightly 
raised  boss.    Broad,  flat,  upward-sloping  marly. 

Design. — In  centre,  the  figure  of  a  rabbit  in 
luster,  surrounded  by  a  circle  of  curls.  The  marly 
is  painted  with  bold  tulip-like  or  pointed  leaf  de- 
signs in  luster  and  blue.    Across  one  side  extends 

[165] 


a  broad  straight  line  of  green  glaze.  Reverse, 
circles  in  luster. 

Luster. — On  face,  golden,  changing  to  blue 
and  violet.    On  back,  violet. 
Hispano-Moresque,  sixteenth  century. 

70.  PLAQUE. 

Diameter,  i6J/2  inches. 

Form. — Deep  curved  cavetto,  with  central 
boss.    Marly  sloping  upward. 

Design. — Six-petaled  blue  flower  in  centre 
of  boss.  Cavetto  covered  with  an  arabesque 
design  of  vines  ;  the  same  pattern  around  marly. 
Around  edge,  boss,  and  separating  marly  from 
cavetto,  broad  blue  lines. 

Luster. — Brownish,  changing  to  golden, 
blue,  and  violet. 

Valencia,  sixteenth  century,  Plate  XLIX 

71.  PLAQUE. 

Diameter,  15^  inches. 

Form. — Deep  curved  cavetto,  with  central 
boss.    Marly  curving  upward. 

Design. — A  bold  pattern  composed  of  but- 
terfly motives  (alternately  open  and  closed),  in 
heavy  blue  outline,  with  floral  and  leaf  motives 
in  luster  between.  Reverse,  concentric  rings  and 
curls. 

Luster. — Brownish,  changing  to  violet. 
Valencia,  seventeenth  century.  Plate  L 

[166] 


Plate  XL VIII 


68.  Plaque 
Hispano-Moresque 
Seventeenth  Century 


Plate  XLIX 


70.  Plaque 
Valencia 
Sixteenth  Century 


Plate  L 


71.  Plaque 
Valencia 
Seventeenth  Century 


72.  PLAQUE. 

Diameter,  16  inches. 

Form. — Deep  curving  cavetto;  central  flat- 
topped  boss  and  upward-sloping  marly. 

Design. — Arabesque  pattern  of  leaves  and 
flowers.  White  rosette  in  centre.  Strawberry- 
plant  design  around  marly,  all  in  luster.  Reverse, 
concentric  rings  and  feather-shaped  ornaments. 

Luster. — Brownish,  changing  to  silver, 
blue,  and  violet. 

Valencia,  sixteenth  century.  Plate  LI 

73.  PLAQUE. 

Diameter,  15^  inches. 

Form. — Curved  cavetto,  with  central  boss. 
Broad,  flat,  upward-sloping  marly. 

Design. — Divided  into  sections  by  three 
waving  lines,  each  section  containing  a  lozenge- 
shaped  figure  composed  of  nine  divisions,  each 
enclosing  a  simple  ornament,  all  in  luster.  Re- 
verse, concentric  circles  and  feather-like  orna- 
ments in  luster. 

Luster. — Brownish,  changing  to  dark  gol- 
den, blue,  and  violet. 
Hispano-Moresque,  seventeenth  century. 

Plate  LI  I 

74.  ALBARELLO. 

Height,  11%  inches. 
Design. — Six  horizontal  bands  of  ornament, 
of  crude  vine-leaf  and  mock- Arabic  character,  in 
luster. 

[173] 


Luster. — Brownish,  changing  to  blue  and 
violet. 

Valencia,  sixteenth  century.  Plate  XXIX 

75.  ALBARELLO. 

Height,  6J4  inches. 

Design. — Vertical  bands  of  simulated  her- 
aldry and  cross-hatching  in  luster.  Blue  lines 
around  top  and  base. 

Luster. — Coppery,  with  violet  tones. 
Hispano-Moresque,  seventeenth  century. 

Plate  LI 1 1 

From  the  Schevitch  collection. 

76.  ALBARELLO. 

Height,  lYz  inches. 
Companion  to  preceding.  Plate  LI  II 

From  the  Schevitch  collection. 

77.  PLAQUE. 

Diameter,  18^  inches. 

Form. — A  shallow  cavetto,  with  flat  centre, 
curving  gradually  into  the  broad  marly 

Design. — Diagonal  godroon  pattern,  painted 
in  luster  on  marly,  of  three  patterns  —  dotted, 
floral,  and  having  small  wheel-shaped  ornaments 
in  white  on  a  luster  ground.  Around  central 
shield,  a  floral  or  "strawberry"  diaper.  Arms. — 
A  lion  rampant  in  creamy  white  on  a  luster 
ground.    Behind  the  shield  is  a  pastoral  staff  in 

[174] 


Plate  LI 


72.  Plaque 
Valencia 
Sixteenth  Century 


73.  Plaque 
Hispano-Moresque 
Seventeenth  Century 


Plate  LI1I 


Plate  LIV 


77.  Plaque 
Valencia 
Early  Sixteenth  Century 


luster  outlined  with  blue.  Surmounting  the 
shield,  a  Vexillum,  or  scarf,  in  white  with  blue 
and  luster  ornamentation.  Reverse,  ovals  enclos- 
ing feather-like  ornaments  in  luster. 

Luster. — Brownish,  changing  to  golden, 
blue,  and  violet. 

Valencia,  early  sixteenth  century.         Plate  LIV 
From  the  collection  of  the  late  M.  Boy 
(No.  64). 

78.  EWER. 

Height,  6l/2  inches. 

Form. — Cylindrical.  Guttered  lip  and  ear- 
shaped  handle. 

Design. — Godroons  in  relief  on  sides,  alter- 
nately solid  luster  and  dot-and-stalk  pattern  in 
luster  on  creamy  ground. 

Luster. — Brownish  golden  with  iridescent 
reflections. 

Valencia,  early  sixteenth  century. 

79.  BOWL  OR  COUPE. 

Height,  g54  inches. 
Diameter,  12^4  inches. 

Form. — Straight  sides  sloping  outward  to- 
ward the  top.  Standing  on  low,  broad  spreading 
foot. 

Design. — Outside  divided  into  six  square 
panels  by  broad  bands  of  luster  decorated  in 
wheel  pattern.    In  centre  of  each  panel,  a  large 

[183] 


six-pointed  star  incised,  with  dotted  diapering, 
surrounded  by  a  dot-and-stalk  ground.  An  un- 
glazed  space  in  the  centre  reserved  for  a  shield. 
Foot  ornamented  with  alternate  sections  of  dotted 
diapering  and  dot-and-stalk  pattern.  Interior 
similarly  decorated,  all  in  luster. 

Luster. — Coppery,  changing  to  blue  and 
violet. 

Hispano-Moresque,  sixteenth  century.    Plate  LV 

80.  TAZZA, 

Height,  5  inches. 
Diameter,  6%  inches. 

Form. — Bowl  shape,  supported  by  stem  and 

foot. 

Design. — Godroons  in  relief  around  sides, 
ornamented  alternately  with  wheel  pattern  and 
dot-and-stalk  diaper.  Around  base,  centre  and 
upper  rim,  blue  bands.  Interior  decorated  with 
central  band  containing  tree  motives,  between  a 
dotted  band  below  and  a  wheel  border  design  at 
top.    In  bottom,  a  fish  amid  waves,  all  in  luster. 

Luster. — Outside,  dark  coppery,  changing 
to  ruby.  Inside,  brownish  with  golden  and 
greenish  reflections. 

Hispano-Moresque,  sixteenth  century.  Plate  LV1 

81.  PLATE. 

Diameter,  9  inches. 

Form. — Shallow,  with  broad  sloping  marly 
and  slightly  convex  centre. 

[184] 


Plate  LV 


79.  Bowl 
Hispano-Moresque 
Sixteenth  Century 


Plate  LVI 


80.  Tazza 
Hispano-Moresque 
Sixteenth  Century 


Design. — Diaper  of  coarse  dot  and  stalk 
pattern  in  luster.  In  centre,  a  shield  rudely  out- 
lined in  blue ;  above  and  below,  on  marly,  a  tulip 
in  blue  and  luster.  Reverse,  concentric  rings  of 
luster. 

Luster. — Brownish,  changing  to  violet, 
ruby,  and  blue. 

Hispano-Moresque,  sixteenth  century. 

82.  PLATE. 

Diameter,  gl/2  inches. 

Form. — Shallow,  with  broad  sloping  marly 
and  slightly  convex  centre. 

Design. — In  centre,  a  shield  with  figure  of 
a  fish,  surrounded  by  a  dot-and-stalk  diaper. 
Around  margin,  a  wheel  border  design.  Reverse, 
ovals  enclosing  feather-like  motives  in  luster. 

Luster. — Madreperla,  with  brilliant  irides- 
cence. 

Valencia,  early  sixteenth  century. 

83.  DISH. 

Diameter,  14^  inches. 

Depth,  25/g  inches. 

Width  of  marly,  2j4  inches. 

Form. — Flat  base,  perpendicular  sides,  marly 
slightly  sloping  upwards. 

Design. — Marly  and  sides  diagonally  go- 
drooned  in  relief.    Surrounding  the  shield,  cir- 

[189] 


cttlar  bands  of  4'strawberry-and-thistle/'  dot-and- 
stalk,  and  wheel  patterns.  The  godroons  are 
decorated  successively  with  the  dot-and-stalk, 
wheel,  and  net  diapers.  Similar  design  outside. 
Shield  outlined  with  blue,  enclosing  three  fleur- 
de-lis  in  creamy  white  in  a  luster  field,  the  arms 
of  the  house  of  Bourbon.  On  base,  very  bold 
feather-like  design. 

Luster. — Madreperla,  with  brilliant  irides- 
cence. 

Valencia,  sixteenth  century.  Plate  LVII 

From  the  collection  of  the  late  M.  Boy 
(No.  63). 

84.  DISH. 

Diameter,  i8J4  inches. 

Depth,  2  inches. 

Width  of  marly,  2^2  inches. 

Form. — Flat  base,  with  large  boss  in  centre. 
Upright  sides,  marly  slightly  sloping  upwards. 

Design. — In  the  convex  centre  of  the  boss, 
the  initials  IHS  in  luster,  surrounded  by  a  band 
of  circles  enclosing  many-petaled  flowers  (mar- 
guerites) stamped  in  relief.  The  cavetto  is 
divided  into  twelve  sections,  decorated  alternately 
with  dot-and-stalk  and  thistle  diapers.  Around 
the  marly  are  four  sections  of  stamped  margue- 
rite circles  alternating  with  the  same  number  of 
ribbed  panels,  enclosing  dot-and-stalk  diapering. 
[190] 


Plate  LVIT 


83.  Dish  with  Bourbon  Arms 
Valencia 
Sixteenth  Century 


Plate  LVIII 


84.  Dish 
Valencia 
Late  Fifteenth  Century 


The  entire  decoration  is  in  luster.  Reverse, 
coarse  feather-like  diapering. 

Luster. — Brownish,  changing  to  golden, 
blue,  and  violet. 

Valencia,  late  fifteenth  century.  Plate  LVIII 

85.  BOWL  OR  COUPE. 

Height,  8^4  inches. 
Diameter,  12%  inches. 

Form. — Straight  sides,  slightly  spreading 
outwards.    Supported  on  low,  broad  foot. 

Design. — Diagonally  godrooned  in  relief 
around  sides.  Outside  embellished  with  horizon- 
tal bands  of  dotted  diaper  and  floral  design,  sep- 
arated by  blue  lines.  Interior  similarly  orna- 
mented. In  centre,  a  shield  from  which  the 
design  has  been  removed. 

Luster. — Coppery,  with  iridescent  reflec- 
tions. 

Valencia,  sixteenth  century.  Plate  LTX 

86.  BOWL  OR  COUPE. 

Height,  %y2  inches. 
Diameter,  12^  inches. 

Form. — A  bowl  with  straight  sloping  sides, 
supported  on  a  broad  spreading  foot. 

Design. — Embossed  godroons  running  ver- 
tically and  decorated  in  three  patterns  —  the  net, 
the  floral,  and  the  solid  luster.  In  centre,  a 
square  enclosing  the  letters  IHS  surrounded  by 

[195] 


pointed  and  oval  ornaments  enclosing  a  net,  or 
dotted  ground  pattern.  Around  the  upper  rim, 
sixteen  knops. 

Luster. — Coppery,  with  prismatic  reflec- 
tions. 

Valencia  (Manises) ,  sixteenth  century.  Plate  LX 

87.  VASE. 

Height,  19^2  inches. 

Form. — Inverted  pear  shape,  with  trumpet- 
shaped  top.  Four  handles  connect  the  neck  with 
the  shoulder. 

Design. — Four  large  relief  flower  orna- 
ments on  shoulder,  between  the  handles.  Around 
centre,  two  rope-like  ridges,  and,  encircling  lower 
half,  scale  and  upright  godroon  patterns  in  relief. 
The  luster  ornamentation  consists  of  alternating 
dotted  and  floral  diapering.  Ormolu  mounting 
at  top  and  base. 

Luster. — Coppery,  with  iridescent  reflec- 
tions. 

Valencia,  sixteenth  century.  Plate  LXI 

88.  BOWL. 

Diameter,  15  inches. 
Height,  SJA  inches. 

Form. — Hemispherical,   standing  on  basal 

rim. 

Design. — Divided  inside  into  eight  segments 
by  two  blue  and  two  luster  bands  crossing  in  the 
centre,  the  sections  being  decorated  alternately 

[196] 


Plate  LIX 


85.  Bowl 
Valencia 
Sixteenth  Century 


Plate  LX 


86.  Bowl 
Valencia  (Manises) 
Sixteenth  Century 


Plate  LXI 


87.  Vase 
Valencia 
Sixteenth  Century 


Plate  LXII 


88.  Bowl 
Manises 
Late  Sixteenth  Century 


with  diapering  of  white  depressions  in  luster 
ground,  and  leaf  and  flower-like  luster-work. 
On  base,  feather-like  diaper. 

Luster. — Coppery,  with  iridescent  reflec- 
tions. 

Manises,  late  sixteenth  century.  Plate  LXII 

From  the  collection  of  Emile  Gaillard. 

89.  PLATE. 

Diameter,  g%  inches. 

Form. — Shallow,  curving  cavetto,  upward- 
curving  marly. 

Design. — A  rudely  painted  bird  in  centre; 
strawberry-plant  motives  and  rudely  simulated 
Arabic  inscription  on  brim. 

Luster. — Brownish,  changing  to  blue,  vio- 
let, and  silver. 

Hispano-Moresque,  sixteenth  century. 

90.  PLAQUE. 

Diameter,  14}^  inches. 

Form. — A  small  boss  in  the  centre,  and 
raised  ledge  around  the  cavetto. 

Design. — In  cavetto,  four  sections  enclosing 
fruit  motives.  Marly  embellished  with  twelve 
pointed  leaf-shaped  ornaments  in  relief,  on  a 
band  of  tendrils  and  leaves.  On  reverse,  coarse 
feather-like  diaper. 

Luster. — Brownish,  with  iridescent  reflec- 
tions. 

Hispano-Moresque,  sixteenth  century. 
[205] 


DISH. 

Diameter,  i$l/2  inches. 

Form. — Sunken  cavetto,  with  central  boss. 

Design. — Around  the  marly,  tulip-like  de- 
signs in  relief,  with  leaf-  and  scroll-work  between. 
Around  cavetto,  a  border  rudely  simulating  Chris- 
tian writing,  a  corruption  of  the  inscription, 
"E)omine  Surge." 

-    Luster. — Coppery,    changing    to  golden, 
ruby,  blue  and  violet. 
Hispano-Moresque,  seventeenth  century. 

.     Plate  LXIII 

PLAQUE. 

Diameter,  i%l/2  inches. 

Form. — A  shallow,  sweeping  curve. 

Design. — The  central  shield  is  surrounded 
by  a  band  of  wheel  pattern.  Around  this  is  a 
broader  band  of  dot-and-stalk  diaper;  surround- 
ing this,  a  band  of  floral  design.  The  marly  is 
decorated  with  embossed  godroons,  which  are 
diapered  with  the  net,  floral,  wheel,  and  dot-and- 
stalk  patterns.  Arms. — A  lion  rampant  in  creamy 
white  on  luster  ground,  within  a  dolphin  em- 
bowed.    On  back,  bold  feather-like  diaper. 

Luster. — Brownish  golden,  changing  to 
violet,  rose,  and  blue. 

Valencia,  late  fifteenth  century.  Plate  LXIV 


[206] 


Plate  LXIII 


gi.  Dish 
Hispano-Moresque 
Seventeenth  Century 


92.  Plaque 
Valencia 
Late  Fifteenth  Century 


PLAQUE. 

Diameter,  islA  inches. 

Form. — Deep  bowl-shaped  cavetto,  with  cen- 
tral boss;  marly  slightly  curling  upwards  and 
outwards. 

Design. — In  centre,  a  shield  with  duck. 
Around  cavetto, -a  band  of  fruit-and-leaf  design. 
Marly  diagonally  godrooned  in  outline  and  bro- 
ken into  four  parts  by  pointed  ornaments  at 
equidistant  points.  The  spaces  between  are  each 
broken  into  three  sections,  decorated  with  fruit 
and  star  motives.  Around  border,  simulated 
Christian  inscription.  Blue  bands  around  cen- 
tral boss,  cavetto  and  outer  edge.  Reverse, 
plume-like  diaper. 

Luster. — Brownish,  changing  to  madre- 
perla. 

Hispano-Moresque,  seventeenth  century. 

This  plaque  is  coated  with  slip  and  lead 
glazed.  Plate  LXV 

DISH. 

Diameter,  1 5^4  inches. 

Form. — Deep,  curving  cavetto  ;  central  boss ; 
upward-turning  marly. 

Design. — Divided  into  four  sections  by  two 
fan-shaped  panels,  each  with  four  divisions  out- 
lined in  blue,  two  containing  leaf  motives  in 
white  on  a  luster  ground,  alternating  with  two 
others  containing  a  dotted  diaper.  Between  the 
fan-shaped  wings  are  two  broad  sections  deco- 

[211] 


rated  with  guilloche  bands  and  Moorish  orna- 
ment. Reverse,  concentric  rings  and  ornaments 
in  luster. 

Luster. — Brownish,  changing  to  blue,  gol- 
den, and  violet. 

Hispano-Moresque,  sixteenth  century. 

Plate  XLIV 

95-  JAR. 

Height,  854  inches. 

Form. — Globular,  with  dented  collar  and 
four  loop  handles. 

Design.  —  Figures  of  animals  —  a  dog,  a 
hare,  a  fox  and  a  bird  —  with  tendrils  and  fruit 
between. 

Luster. — Brownish,  changing  to  blue,  vio- 
let, and  golden. 

Valencia,  sixteenth  century.  Plate  LXVI 

96.  PLATE. 

Diameter,  Sy2  inches. 

Form. — Shallow  bowl. 

Design. — Divided  into  two  parts,  one  half 
decorated  with  a  fan-shaped  design  outlined  in 
blue  enclosing  ornaments  in  white  on  luster 
ground.  The  other  half  is  embellished  with  leaf 
and  flower-shaped  ornaments  in  luster.  Reverse, 
concentric  circles  in  luster. 

Luster. — Brownish,  changing  to  silver,  vio- 
let, and  blue. 

Spanish,  seventeenth  century. 

From  the  Hakky-Bey  collection  (No.  76). 
[212] 


Plate  LXV 


93.  Plaque 
Hispano-Moresque 
Seventeenth  Century 


Plate  LXVI 


95.  Jar 

Valencia 
Sixteenth  Century 


97.  PLATE. 

Diameter,  g%  inches. 

Form. — Saucer  shape. 

Design. — Divided  into  four  sections  by 
broad  radiating  bands  of  luster,  each  part  en- 
closing a  floral  motive.  In  centre,  a  rudely 
painted  shield  in  blue  and  luster.  Around  marly, 
a  simulated  Christian  inscription  derived  from 
the  Latin  phrase  "Urbi  et  Orbi."  Reverse,  con- 
centric rings  of  luster. 

Luster. — Brownish,  changing  to  madre- 
perla. 

Spanish,  seventeenth  century.  Plate  LXVII 

98.  DISH. 

Diameter,  13  inches. 

Form. — Central  boss  and  ridge. 

Design. — Around  cavetto,  a  rudely  simula- 
tive Christian  inscription.  On  marly,  tulip-like 
designs  in  relief,  with  leaf-and-flower  diaper 
between,  all  in  luster.  Reverse,  concentric  rings 
of  luster. 

Luster. — Brownish,  changing  to  ruby,  vio- 
let, blue,  and  golden. 
Spanish,  seventeenth  century. 

99.  DISH. 

Diameter,  14^4  inches. 

Form. — Depressed  centre,  with  raised  boss, 
surrounded  by  a  ledge. 

Design. — The  broad  marly  is  diagonally 
godrooned  in  relief,  each  pair  of  godroons  being 
[217] 


separated  by  blue  outlines.  In  the  cavetto  is  a 
leaf-and-flower  diaper  in  luster,  with  blue  circles 
around  central  boss  and  edge  of  cavetto.  The 
marginal  godroons  are  decorated  in  three  pat- 
terns—  dotted,  wheel,  and  floral  (the  latter  with 
a  blue  ornament) — arranged  in  rotation.-  Arms. 
— A  stork-like  bird  in  luster.  Reverse,  feather- 
like diaper. 

Luster. — Brownish,    changing   to  golden, 
greenish,  blue,  and  violet. 
Hispano-Moresque,  sixteenth  century. 

Plate  LXVIII 

ioo.  DISH. 

Diameter,  ISTA  inches. 

Form. — Depressed  cavetto,  with  central 
boss,  broad  marly. 

Design. — Bands  in  circles.  Around  the  cen- 
tral boss,  wheel  pattern.  Encircling  this,  a  scroll 
design;  which  in  turn  is  surrounded  by  a  Chris- 
tian inscription,  ^Domine  Surge,"  repeated. 
Outside  of  this,  another  wheel  band.  The  marly 
is  decorated  with  a  band  of  dotted  or  net  diaper- 
ing, outside  of  which  is  a  similar  inscription, 
while  around  the  edge  is  again  a  wheel  band. 
Arms. — A  rabbit  in  luster  on  creamy  white 
ground.    Reverse,  feather-like  diaper. 

Luster. — Brownish,  changing  to  brilliant 
madreperla. 

Spanish,  seventeenth  century.  Plate  LXIX 

[218] 


Plate  LXVII 


97.  Plate 
Spanish 
Seventeenth  Century 


Plate  LXVIII 


99.  Dish 
Hispano-Moresque 
Sixteenth  Century 


ico.  Dish 
Spanish 
Seventeenth  Century 


101.  DISH. 

Diameter,  14^4  inches. 

Form. — Central  boss;  depressed  cavetto; 
broad  marly. 

Design. — Marly  diagonally  godrooned  and 
decorated  with  floral,  wheel  and  dotted  diaper- 
ing, arranged  consecutively.  Cavetto  encircled 
by  a  band  of  flower-and-leaf  diaper  with  an  inner 
circle  of  dot-and-stalk  pattern.  Arms. — A  lion 
rampant  in  luster  on  an  ivory  white  ground.  Re- 
verse, feather-like  diaper. 

Luster. — Pale  brownish,  changing  to  madre- 
perla. 

Valencia,  seventeenth  century.  Plate  LXX 

102.  DISH. 

Diameter,  19^2  inches. 

Depth,  1%  inches. 

Diameter  of  base,  14^  inches. 

Form. — Flat  base;  upright  sides;  marly 
sloping  upwards;  low,  broad  boss,  with  go- 
drooned sides,  in  centre. 

Design. — Cavetto  decorated  with  circular 
bands  containing  dotted  and  floral  patterns. 
Around  upright  sides,  a  running  floral  design. 
The  marly  is  diagonally  godrooned  in  relief,  and 
decorated  with  wheel,  dotted  and  rude  floral  de- 
signs. Around  outer  and  inner  edges  of  marly 
and  central  boss,  blue  lines.  Arms. — Quarterly : 
1-4,  a  pear  in  white  on  luster  field;  2-3,  a  port- 

[225] 


cullis  in  luster  on  creamy  ground.  Reverse, 
plume-like  diaper. 

Luster. — Brownish,  with  iridescent  reflec- 
tions. 

Valencia,  early  sixteenth  century.        Plate  LXXI 
From  the  Hakky-Bey  collection  (No.  71). 

103.  DISH. 

Diameter,  ig]/2  inches. 

Depth,  2  inches. 

Diameter  of  base,  is3A  inches. 

Form. — Flat  base;  upright  sides;  upward- 
sloping  marly.  In  centre,  a  godrooned  double 
boss  (a  small  one  surmounting  a  larger). 

Design. — In  cavetto,  bold  floral  ornaments 
surrounding  the  central  boss.  Outside  of  this,  a 
rudely  simulated  Christian  inscription,  "Domine 
Surge."  Around  upright  sides,  a  running  leaf- 
and-tendril  design.  The  marly  is  diagonally  go- 
drooned in  a  double  circle,  the  individual  go- 
droons  being  ornamented  with  solid  luster,  dotted 
and  floral  patterns.  Reverse,  plume-like  diaper- 
ing. 

Luster. — Dark  purplish  copper,  changing  to 
ruby. 

Spanish,  seventeenth  century.  Plate  LXXII 

104.  PLAQUE. 

Diameter,  i8^4  inches. 

Form. — Shallow,  plate  shape,  with  slightly 
convex  centre. 

[226] 


Plate  LXX 


ioi.  Dish 
Valencia 
Seventeenth  Century 


Plate  LXXI 


102.  Dish 
Valencia 
Sixteenth  Century 


Plate  LXXII 


103.  Dish 
Spanish 
Seventeenth  Century 


Plate  LXXIII 


104.  Plaque  with  Arms  of  Sicily 
Valencia  (?) 
Seventeenth  Century 


Design. — Three  circles  of  Christian  inscrip- 
tions— "Domine  Surge/'  repeated  (and  "Do-m- 
ine Adm  Surge'') — alternating  with  bands  of 
simple  festooned  ornaments.  Border  decorated 
with  indicated  godroons  in  relief,  and  a  conven- 
tional edging,  all  in  luster.  Arms. — Pallets  in 
creamy  white  on  luster,  saltired  by  two  eagles  — 
the  arms  of  Sicily.  Reverse,  plume-like  diaper- 
ing. 

Luster. — Brownish,   changing   to   a  dark 
golden,  with  iridescent  reflections. 
Valencia  (?),  seventeenth  century.  Plate  LXXIII 

105.  PLAQUE. 

Diameter,  19^  inches. 

Form. — Shallow,  plate  shape. 

Design. — Central  shield  surrounded  by  a 
floral  and  tendril  band.  Marly  decorated  with 
coarse  scale  pattern  incised,  and  oval  ornaments 
in  relief  around  outer  edge.  The  scales  are  filled 
with  dotted  diapering  and  floral  motives,  ar- 
ranged alternately.  Arms. — Same  as  preceding 
—  the  arms  of  Sicily.  Reverse,  plume-like 
diapering. 

Luster. — Coppery,  with  iridescent  reflec- 
tions. 

Spanish,  sixteenth  century.  Plate  LXXIV 


[235] 


106.  PLAQUE. 

Diameter,  16  inches. 

Form.  —  Depressed  cavetto,  with  convex 
centre.    Broad  marly,  sloping  upwards. 

Design. — Marly  ornamented  with  tulip  de- 
signs in  relief,  the  petals  being  solidly  lustered, 
the  central  lozenge-shaped  parts  being  covered 
with  a  dotted  diapering.  Around  the  central 
boss  are  concentric  bands  of  wheel,  dot-and- 
stalk,  floral,  and  wheel  designs.  Reverse,  large 
plume-like  diapering. 

Luster. — Brownish,  changing  to  blue  and 
violet. 

Spanish,  sixteenth  century.  Plate  LXXV 

107  DISH. 

Diameter,  16  inches. 

Form. — Bowl  shape,  with  convex  centre. 

Design. — Across  the  entire  surface  extends 
the  figure  of  a  bull  in  luster.  Above,  the  figure 
of  a  bird  (ostrich?).  The  interspaces  are  cov- 
ered with  a  rude  diapering  of  fruit  and  leaf 
motives.    Reverse,  rude  diapering  of  curls. 

Luster. — Dark  brown,  with  brilliant  blue 
and  violet  reflections. 
Hispano-Moresque,  seventeenth  century. 

Plate  LXXVI 

[236] 


Plate  LXXIV 


105.  Plaque  with  Arms  of  Sicily 
Spanish 
Sixteenth  Century 


Plate  LXXV 


106.  Plaque 
Spanish 
Sixteenth  Century 


Plate  LXXVI 


107.  Dish 
Hispano-Moresque 
Seventeenth  Century 


ic8.  JAR. 

Height,  10V2  inches. 

Form. — Bulbous  above,  slightly  contracting 
at  the  centre,  and  then  expanding  slightly  in  a 
smaller  bulb  below. 

Design. — On  an  irregular  blue  ground,  lus- 
ter decorations  in  broad  horizontal  bands  of 
scrolled  and  floral  arabesques,  separated  by  nar- 
row bands  of  cross-hatching. 

Luster. — Coppery,  of  reddish  tint,  with  iri- 
descent reflections.    Soft,  buff-colored  clay. 

The  mechanical  and  decorative  treatment  of 
this  piece  corresponds  exactly  with  Fortnum's 
description  of  a  variety  of  lustered  earthenware 
supposed  to  have  been  made  by  Moorish  potters 
in  Sicily,*  sometimes  called  Siculo-Arab  ware. 
Whether  this  example  is  Sicilian  or  Spanish,  it 
cannot  be  ascribed  to  a  date  earlier  than  the  latter 
part  of  the  seventeenth  century.  The  technique 
and  process  of  manufacture  would  seem  to  indi- 
cate Spanish  origin.  Plate  LXXVII 


109.  JAR. 

Height,  10  inches. 

Companion  to  preceding.  Slight  variations 

in  the  decorative  details.  Plate  LXXVII 


*See  Page  25. 

[243] 


no.  ALBARELLO. 

Height,  1 1 54  inches. 

Design. — On  a  deep  blue  ground,  luster  dec- 
orations —  coarse  leaf  and  tendril  designs  in  hor- 
izontal bands. 

Luster. — Coppery,  with  iridescent  reflec- 
tions. 

Lead  glaze,  buff-colored  clay. 

Sometimes  called  Siculo-Arab  ware,  but 
probably  of  Seville  manufacture  and  of  the 
eighteenth  century. 

in.  PLAQUE. 

Diameter,  14^  inches. 

Form. — Plate  shape,  with  broad,  slightly 
convex  centre. 

Design. — A  rudely  painted  head  of  a  seraph 
with  wings,  in  luster,  filling  the  entire  cavetto. 
Around  the  marly,  a  conventional  design,  repeated 
five  times. 

Luster. — Deep  brown,  with  iridescent  re- 
flections. 

Spanish,  seventeenth  century. 
112.  VASE. 

Height,  7^4  inches. 

Form. — Globular;  neck  missing.  Four  ear- 
shaped  strap  handles  around  shoulder. 

Design. — Surface  divided  into  two  parts  by 
a  horizontal  band  around  the  centre.    Each  part 

[244] 


Plate  LXXVII 


Plate  LXXVIII 


112.  Vase 
Spanish 
Seventeenth  Century 


is  subdivided  into  panels,  the  upper  ones  being 
decorated  with  pointed  leaf-shaped  ornaments, 
the  lower  sections  with  floral  and  leaf  motives. 

Luster. — Dark  brown,  with  iridescent  ef- 
fects, purple  and  violet. 

The  hard,  glassy,  stanniferous  glaze  and 
decorative  treatment  of  this  example  suggest 
Saracenic  influence,  through  Persia. 

Clay,  brick  red. 
Spanish,  seventeenth  century.         Plate  LXXVIII 

113.  JAR. 

Height,  ioy2  inches. 

Form. — Spherical,  with  broad  mouth  and 
two  upright  handles  at  sides. 

Design. — On  each  side  the  letters  IHS  sur- 
rounded by  bold  curled  leaf  designs  in  luster. 
Around  the  narrow  collar,  a  floral  border  de- 
sign. 

Luster. — Light  brown,  changing  to  green- 
ish golden,  blue,  and  violet. 
Hispano-Moresque,  sixteenth  century. 

Plate  LXXIX 

114.  PLAQUE. 

Diameter,  18^4  inches. 

Form. — Plate-shaped,  with  raised  circle  in 
centre. 

Design. — An  eagle  extending  full  length  of 
the  marly.  Around  the  marly,  six  birds,  ar- 
ranged at  equal  distances  apart.     The  spaces 

[249] 


between  are  filled  with  a  coarse  diaper  design  of 
foliage  and  tendrils,  all  in  luster.  Reverse,  a 
coarse  shell  or  scale  pattern  in  luster. 

Luster. — Deep  coppery,  with  slight,  irides- 
cent reflections. 

Spanish,  seventeenth  century.  Plate  LXXX 

115.  DISH. 

Diameter,  16  inches. 

Form. — Bowl  shape,  with  deep  cavetto  and 
upward-sloping  brim. 

Design. — A  knight,  mounted  on  a  horse,  in 
luster,  outlined  heavily  with  blue,  occupying  the 
entire  centre.  On  the  horse's  rump  is  a  circle 
enclosing  a  crowned  eagle  in  luster.  Around  the 
marly,  vine  leaves  and  tendrils.  Reverse,  deco- 
rated with  rude  designs  in  luster. 

Luster. — Coppery,  with  iridescent  reflec- 
tions. 

Spanish,  seventeenth  century.  Plate  LXXXI 

116.  VASE. 

Height,  igl4  inches. 

Form. — Globular  body;  cylindrical  neck; 
spreading  foot ;  four  upright  handles.  Conical 
cover  with  finial. 

Design. — On  opposite  sides,  the  head  of  a 
helmeted  knight.  On  the  alternate  sides,  a  rude 
armorial  design.    In  the  interspaces,  coarse  leaf 

[250] 


Plate  LXXIX 


113.  Jar 
Hispano-Moresque 
Sixteenth  Century 


ii4-  Plaque 
Spanish 
Seventeenth  Century 


Plate  LXXXI 


115.  Dish 
Spanish 
Seventeenth  Century 


Plate  LXXX11 


diapering.  Around  the  foot,  a  guilloche  border 
design.    Arms  of  the  house  of  Borghese. 

Luster. — Coppery,  with  iridescent  reflec- 
tions. 

Valencia  (Manises).  Plate  LXXXII 

117.  VASE. 

Height,  18^2  inches. 

Companion  to  preceding.  On  two  sides,  the 
Borghese  arms.  On  alternate  sides,  an  eagle. 
Around  the  foot,  a  running  dot-and-leaf  design. 
In  other  respects  the  two  vases  are  similar. 

Plate  LXXXII 

These  vases  are  figured  by  Van  de  Put  in 
his  second  edition,  who  has  this  to  say  of  them : 

"The  two  four-handled,  covered  vases,  here 
illustrated,  are  evidence  that  the  ware  was  to 
be  found  at  the  Papal  court  of  the  day.  The 
main  motives  in  the  luster  decoration  of  each 
piece  are  a  pair  of  warriors'  busts,  alternating 
with  as  many  shields  of  arms  of  the  house  of 
Borghese,  of  Siena:  Azure  a  dragon  or,  a  chief 
of  the  Empire.  In  these,  placed  upon  the  crossed 
keys  and  ensigned  by  the  triple  crown,  it  is  plain 
that  we  have  the  insignia  of  Pope  Paul  V.  (Ca- 
millo  Borghese),  who  reigned  from  1605  until 
1 62 1. 

"Whether  these  vases  must  be  attributed 
merely  to  the  prevalent  Italian  taste  for  the  ware 
or  not,  there  is  always  to  be  considered  the  pos- 

[259] 


sibility  that  they  were  a  gift  to  the  Pope.  Among 
those  raised  to  the  cardinalate,  by  Paul  V.,  is 
found  a  member  of  a  distinguished  Valencian 
family,  Gaspar  Borja,  son  of  the  sixth  duke  of 
Gandia,  who  received  the  hat  in  1611  and  died 
in  1645. 

"The  design  of  the  arms,  even  for  the  period, 
is  exceptionally  poor." 

Mr.  Van  de  Put  fails  to  note  that  these  vases 
are  not  enameled  with  tin,  but  are  coated  with 
white  slip  and  glazed  with  lead. 

118.  TAZZA. 

Diameter,  11  inches. 

Form. — Scalloped  sides  and  indentations 
which  correspond  to  a  series  of  masks  and  shells 
in  relief  on  the  under  side. 

Design. — In  the  centre,  a  stork-like  bird  sur- 
rounded by  scrolled  plant  forms.  Around  the 
sides,  a  bold  "strawberry''  design. 

Luster. — Deep  brown,  changing  to  a  beauti- 
ful violet. 

Spanish,  seventeenth  century.         Plate  LXXXIII 

119.  JAR. 

Height,  10%  inches. 

Form. — Globular,  with  a  perpendicular  neck 
and  four  loop  handles  on  the  shoulder. 
[260] 


Plate  LXXXIII 


A 


118.  Tazza 
Spanish 
Seventeenth  Century 


Design. — Horizontal  bands  of  luster  with 
conventional  ornaments  reserved  in  the  white 
ground. 

Luster. — Coppery,  changing  to  rose. 
Seville  (?),  eighteenth  century. 

120.  JAR. 

Height,  10  inches. 
Companion    to    preceding,    but  differing 
slightly  in  ornamentation. 

121.  JAR. 

Height,  g%  inches. 

Form. — Spherical,  with  short,  upright  collar 
and  four  loop  handles. 

Design. — Around  the  body,  four  large  tree- 
like ornaments  with  carnation  flowers,  rising 
from  vases.  Around  shoulder  and  base,  rudely 
painted  birds  and  fishes,  all  in  luster. 

Luster. — Dark,  reddish  copper. 
Seville  (?),  eighteenth  century.      Plate  LXXXTV 

122.  BOWL. 

Diameter,  13^4  inches. 
Depth,  3%  inches. 

Design. — In  centre,  a  rudely  painted  bird 
with  body  and  tail  in  the  form  of  a  horn  of 
plenty.  The  surrounding  spaces  are  occupied  by 
clusters  or  sprays  of  carnations. 

[263] 


Luster. — Dark,  reddish  copper,  with  irides- 
cent reflections. 
Spanish,  eighteenth  century. 

123.  BOWL. 

Diameter,  9  inches. 

Form. — Inverted  cone  shape;  rounded  in- 
terior; vertical  edge. 

Design. — A  grotesque  bird  in  the  centre,  sur- 
rounded by  ornaments.  Encircling  the  central 
design  is  a  broad  band  of  luster  with  ornamenta- 
tion reserved  in  white,  while  around  the  edge  is 
a  white  band  with  guilloche  pattern  in  luster. 

Luster. — Coppery,  with  iridescent  reflec- 
tions. 

Seville  (?),  eighteenth  century. 

124.  BOWL. 

Diameter,  7^4  inches. 

Design. — A  rudely  painted  bird  occupying 
the  centre,  surrounded  with  scrolled  ornaments. 

Luster. — Bright  reddish  copper,  with  irides- 
cent reflections. 
Seville,  nineteenth  century. 

125.  BENITIER. 

Height,  854  inches. 

Design. — A  very  rude  representation  of  the 
Madonna  and  Child  in  relief,  surrounded  by  a 

[264] 


Plate  LXXXIV 


121.  Jar 
Seville  (?) 
Eighteenth  Century 


border  of  flower-like  ornamentation,  also  in  re- 
lief. Beneath  and  around  the  figures  are  rudely 
modeled  birds. 

Luster. — Bright,  reddish  copper. 
Modern  Spanish. 

126.  TILE  OR  PLAQUE. 

Dimensions,  8  x  io^4  inches. 

Design. — In  high  relief,  a  woman  crowned, 
holding  in  her  left  hand  a  human  head  (?)  and 
in  her  right  a  sceptre.  Four  rudely  painted  birds 
occupy  the  corners  of  the  background,  all  in  lus- 
ter.   Surrounded  by  a  lustered  frame  in  relief. 

Luster. — Coppery. 
Modern  Spanish. 

127.  PLAQUE. 

Diameter,  15^  inches. 

Form. — Depressed  centre,  with  raised  boss; 
broad  upward-  and  outward-curving  marly. 

Design. — In  cavetto,  a  broad  circle  of  con- 
ventional bud  motives,  tendrils  and  leaves.  Marly 
diagonally  godrooned  in  relief.  Over  all  luster 
design  of  leafage  and  fishes.  Reverse,  plume- 
like diapering. 

Luster. — Brownish,  with  iridescent  reflec- 
tions. 

Spanish,  seventeenth  century. 

[267] 


128.  PLAQUE. 

Diameter,  15^4  inches. 

Form. — Sunken  cavetto,  with  flat-topped 
boss.    Broad  marly  curling  upward  and  outward. 

Design. — Around  boss  and  on  marly,  a 
Christian  inscription,  "Domine  Surge/'  outside 
of  which  are  dotted  and  wheeled  circles.  Marly 
diagonally  godrooned,  and  covered  with  wheel, 
dotted,  and  floral  diapering.  Blue  lines  at  inner 
and  outer  edges  of  marly  and  encircling  central 
boss.    Reverse,  large  plume-like  diaper. 

Luster. — Coppery,  with  slight,  iridescent 
reflections. 

Spanish,  seventeenth  century.  Plate  LXXXV 

129.  PLAQUE. 

Diameter,  15*4  inches. 

Form. — Depressed  centre,  with  boss;  broad 
upward-curving  marly. 

Design. — Around  the  centre,  a  Christian  in- 
scription, "Domine  Surge."  Marly  diagonally 
godrooned  in  relief  ,  the  individual  godroons  being 
alternately  lustered  solidly  and  decorated  with  a 
floral  pattern.  Around  inner  and  outer  edges  of 
marly  and  encircling  central  boss,  blue  lines. 
Reverse,  coarse  plume-like  diapering. 

Luster. — Brownish,  with  iridescent  reflec- 
tions. 

Spanish,  seventeenth  century. 

[268] 


Plate  LXXXV 


128.  Plaque 
Spanish 
Seventeenth  Century 


Plate  LXXXV1 


Plate  LXXXVII 


131.  TlNAJA 

Moorish,  or  North  African 
Sixteenth  Century 


Plate  LXXXVIII 


132.  TlNAjA 

Moorish,  o>r  North  African 
Sixteenth  Century 
Recent  Decoration 


i^o.  TILE. 

Length,  j¥\  inches. 
Width,  4  inches. 

Form. — An  elongated  hexagon. 

Design. — A  scroll  bearing  an  inscription  in 
Gothic  lettering,  surrounded  by  a  dotted  ground, 
containing  leaves  and  berries,  all  in  blue. 
Valencia,  early  fifteenth  century.    Plate  LXXXVI 

Similar  to  one  in  the  Victoria  and  Albert 
Museum.  Tiles  of  this  form  were  used  exten- 
sively throughout  Spain.  Several  geometrical 
combinations  are  possible  when  used  alone  or  in 
conjunction  with  tiles  of  other  shapes. 

The  elongated  hexagonal  tiles  were  also  used 
to  some  extent  in  Italy,  in  the  pavement  of  the 
Caracciolo  chapel  in  the  church  of  S.  Giovanni 
a  Carbonara,  and  other  churches  at  Naples,  and 
the  Delia  Rovere  chapel,  Rome,  according  to 
Henry  Wallis.*  He  attributes  the  pavement  in 
the  Caracciolo  chapel  to  about  1440.  The  colors 
are  blue,  green,  and  manganese  purple.  Many 
of  these  tiles  are  also  figured  in  the  Bulletin  of 
the  International  Museum  of  Ceramics  of 
Faenza,  Italy  (April-July,  191 5). 


*The  Maiolica  Pavement  Tiles  of  the  Fifteenth  Century, 
London,  1902. 


HISPANO-MORESQUE  POTTERY 


Ln GLAZED 

Terra  Cotta  jars  of  large  size  (tinajas),  for 
holding  grain,  oil  or  wine,  were  used  extensively  by 
the  Spanish  Moors,  the  principal  centres  of  manufac- 
ture being  Toledo,  Seville  and  Granada. 

131.  TINAJA. 

Height,  27  inches. 

Form. — Ovoid,  with  two  small,  wing-shaped 
handles. 

Design. — Incised  decoration  on  upper  half. 
Coarse  herring-bone  border  below.  Central  band 
of  large  leaf-shaped  ornaments,  each  enclosed  in 
a  circle.  Herring-bone  fret  and  rope  border 
around  shoulder. 

Coarse  reddish  clay,  unglazed. 
Probably  Moorish,  or  North  African,  sixteenth 

century.  Plate  LXXXVTT 

132.  TINAJA. 

Height,  24  inches. 

Design. — Incised  decoration  in  Arabic  style, 
with  modern  Arabic  inscription  around  centre. 

Light  red  clay,  unglazed. 

For  grain  or  oil. 
Moorish,  or  North  African,  sixteenth  century. 

Decoration  recent.  Plate  LXXXVIIT 

[278]  . 


Date  Due 

Printed 

At  the  Sign  of  the  Ivy  Leaf  in  Sansom  Street 
Philadelphia 


